
Class. 
Book. 



_uu_ 



Copyright^ . 



COPYRIGHT DEPOSIT. 



DECORATION OF 

METAL, WOOD 

GLASS, ETC. 



A Book for Manufacturers, 
Mechanics, Painters, Deco- 
rators, and all Workmen in 
the Fancy Trades : : : : 



EDITED BY 

H. C. STANDAGE 

Consulting Chemist 



FIRST EDITION— FIRST THOUSAND 



NEW YORK 

John Wiley & Sons 

London : Chapman & Hall, Limited 
1908 



<* 



UBKARY of GONGKESsJ 
Two Copies Hec- 

MAR 7 1908 

OupyritfMi entry _ 
5u*S&4 XAc, rtu 




Copyright, 1908, by 
JOHN WILEY & SONS 



THE PREMIER PRESS 
NEW YORK 



RENOVATING METALS AND OTHER 
MATERIALS BY BRONZING, 

Litebally, the word "bronzing" means "a brown 
color/' being derived from the Italian word bronzino, 
which signifies "burnt brown" ; the term now, how- 
ever, is taken as meaning the coloring of metals, wood, 
leather, etc., with a "bronzing" powder, no matter 
what the color of that powder may be. 

Bronze powders are usually dusted on a surface that 
has been coated with some suitable agglutinant to cause 
the powder to adhere, in some cases a bronze paint is 
used, while, in the case of leather articles, a liquid or 
bronzing fluid is employed. Such a fluid is one of the 
easiest methods of bronzing because the fluid is similar 
to a quick-drying varnish, that, when dry, exhibits a 
"bronzed" effect, which is generally due to the presence 
of a superabundance of an aniline dye. 

Success in the art of bronzing greatly depends on cir- 
cumstances, such as the temperature of the alloy (me- 
tallic bronzing powder) or of the solution, the propor- 
tions of the metals used in forming the powder, and the 
quality of the materials. The moment at which to with- 
draw the goods, the drying of them and many other 
little items, require a care and attention in manipula- 
tion which experience alone can impart. 

X 



2 DECORATION OF METAL, WOOD, GLASS, ETC. 

To Bronze Alabaster or Plaster Figures. 

Size the surface to be bronzed with a suitable size, 
and when dry touch the prominent parts of the figure or 
ornament with the No. 1 bronze, and the remainder 
with No. 2 ; then soften down the lines of mixture, or 
contact of the two points, with a badger's hair brush. 

No. 1. — Grind equal parts of "Dutch Metal" and 
the following paint together and thin the mixture with 
a little oil of turpentine. 

No. 2. — Grind Prussian blue, verdigris and ochre, 
separately with oil, then mix them together in such 
proportions as will produce a green color. 

The above compound is what is known as a bronze 
"paint !" Instead of using No. 1 for touching up the 
prominent parts of the figure, Bessemer's gold paint 
can be employed ; then cover the remainder of the figure 
as before with the paint No. 2. 



Aniline Bronzing Fluids. 

Take 10 parts of aniline red and 5 parts of aniline 
purple; dissolve them in 100 parts of methylated spirit 
at the heat of a waterbath. As soon as the dyes are dis- 
solved, add 5 parts of benzoic acid and raise the tem- 
perature of the mixture to the boil and keep it at that 
heat for 5 to 10 minutes, until in fact the greenish 
color of the mixture is transformed into a fine light- 
colored bronze. This fluid is laid on with a brush and 
is applicable to metals, wood, leather ; etc. 



RENOVATING METALS BY BRONZING. 6 

Bronzing Fluids. 

No. 1. — Ingredients: 

50 grains of red aniline, 
50 grains of violet aniline, 

2 oz. of alcohol, 
50 grains of benzoic acid. 
Dissolve the aniline colors in a bottle, by the aid of 
heat (over a waterbath), add the benzoic acid and heat 
the mixture until its color is of a light brownish 
bronze. 

No. 2. — Brown Bronze Dip — Ingredients: 
8 oz. of iron scales, 
8 oz. of hydrochloric acid, 
|- oz. of arsenic, 
\ oz. of zinc (solid). 
Mix in a bottle and keep the zinc in the mixture 
only while the fluid is in use. 

No. 3. — Green Bronze Dip — Ingredients : 
4 oz. of verditer green, 
4 oz. of common salt, 
2 oz. of salammoniac, 
1 oz. of alum, 
16 oz. of French berries, 
4 quarts of vinegar. 
Boil all these ingredients together. 

No. 4. — Olive Green Dip for Brass — Ingredients: 

1 oz. of hydrochloric acid, 

\\ oz. of nitric acid. Add palladium or ti- 
tanium, 






4 DECORATION OF METAL, WOOD, GLASS, ETC. 

Dissolve the metal and add 1 pint of the solution to 
a gallon of soft water. 
No. 5. — "Black Bronze for Brass. 

Dip the article bright in nitric acid, rinse off the 
acid with clean water and place it in the following mix- 
ture until it turns black: 

12 lbs. of hydrochloric acid, 
1 lb. of sulphate of iron, 
1 lb. of pure white arsenic. 
Take out the article and rinse it in clean water, dry 
off in sawdust, polish with blacklead and then coat 
with green lacquer. 

No. 6. — Ingredients: 

20 oz. of water, 

5 drachms of perchloride of iron. 

Have the articles perfectly clean, then dip in the hot 
solution until the required color is obtained ; then dip 
in clean hot water and dry, then lacquer. The lacquer 
may be made of shellac varnish colored with dragon's 
blood, gum and burnt umber. 

No. 7. — Ormolu Dipping Acid for Sheet Brass — In- 
gredients : 

6 lbs. of nitrate of potash, 
1 gallon of sulphuric acid, 

i pint of nitric acid, 
\ pint of hydrochloric acid. 
Add the hydrochloric acid last, and stir with a stick. 

No. 8. — Parisian Bronze Dip — Ingredients: 
1 oz. of salammoniac, 
1 oz. of common salt, 



RENOVATING METALS BY BRONZING. O 

2 oz. of liquid ammonia, 

2 quarts of vinegar. 
Clean the metal, rub the solution over it, then dry off 
by friction with a brush. 
No. 9. — Bronzing Small Articles — Ingredients: 

1 part of oxide of iron, 

1 part of white arsenic, 

12 parts of hydrochloric acid. 
Clean the brass well to get rid of lacquer or grease, 
and apply the above with a brush until the color desired 
is obtained. Stop the process by oiling well, when it 
may be varnished or lacquered with clear lacquer. 
'No. 10. — Bronze Gold — Ingredients: 
2|- parts of burnish gold, 

2 parts of oxide of copper, 

1 part of quicksilver, 
i part of gold flux. 

Having dissolved the copper in nitric acid, it is again 
separated from the solvent and falls to the bottom of the 
vessel by the addition of iron. The precipitate of copper 
may be decreased or increased at discretion, which modi- 
fies the color of the bronze according to the proportion 
of burnish gold contained in the mixture. This com- 
pound is chiefly used for ornamenting the handles and 
heads of jars, vases and similar articles, and occasion- 
ally mixed with burnished gold. 
ISTo. 11. — Green Bronze — Ingredients: 

2 oz. of nitrate of iron, 

2 oz. of hyposulphite of soda, 
1 pint of water. 
Immerse the articles in the fluid until of the re- 



DECORATION OF METAL, WOOD, GLASS, ETC. 

quired tone of color. Almost any shade from brown to 
red can be obtained from this fluid ; then wash well with 
water and brush. 
No. 12. — To Bronze Castings (by Dipping). 

Pickle the castings in sulphuric acid and water (1 to 
10), scour with sand, and then dip for an instant in a 
solution of copper sulphate, 3 oz., sulphuric acid, 5 oz., 

1 gallon of water, flinse in cold water and dry in saw- 
dust. 

Bronze on Feathers. 
They are chiefly goose feathers and wings of pigeons 
which appear covered with gold and silver. The pro- 
cess is very simple. The feather is dipped in bronze 
powder and rubbed with a piece of wash leather or 
chamois. In course of wearing, however, the bronze is 
very easily detached. To prevent this, the feather be- 
fore being dipped in the bronze powder is taken through 
gum water, pressed nearly dry between cloths and in its 
slightly adhesive state is treated with bronze powder. 
Partially bronzed feathers and wings are produced by 
covering those parts which are to remain plain with 
pasteboard and the bronze powder is rubbed upon the 
rest with a feather. Of course varied effects may be 
produced by drying the feathers with aniline colors, etc., 
prior to the application of the bronze. 

Bronzing Liquids for Gun Barrels. 

'No. 1. — Nitric acid, i oz., sweet spirits of nitre, -| 
oz., spirits of wine, 1 oz., sulphate of copper, 2 oz., 
water, 30 oz., tincture of muriate of iron, 1 oz. ; mix. 

]STo. 2. — 1 oz. of sulphate of copper, 1 oz. of sweet 



RENOVATING METALS BY BRONZING. i 

spirits of nitre, 1 oz. of water ; mix. In a few days it 
will be ready to use. 

'No. 3. — 3 oz. of sweet spirits of nitre, 1^ oz. of gum 
benzoin, -J oz. of tincture of muriate of iron, 2 drachms 
of sulphate of copper, i oz. of spirits of wine ; mix, and 
add 2 lbs. of soft water. 

~No. 4. — Tincture of muriate of iron, | oz., spirits of 
nitric ether, | oz., sulphate of copper, 2 scruples, rain 
water, -J- pint. 

The above are applied with a sponge after cleaning 
the barrel with lime and water. When dry, they are 
polished with a stiff brush or iron scratch-brush. 

Bronzing Inlaid Work. 
A method for decorating inlaid work is in the use of a 
bronzing liquid, consisting of a liquid composition 
formed by combining metallic gilding or bronze powder 
with collodion, which composition is capable of being 
applied as a bronze liquid to surfaces of wood, iron, or 
any solid material for the purpose of coating the same 
for decoration or preservation. 

To Bronze Pipes Used for Steam Heating. 

Use ordinary chrome yellow for painting the pipes. 
When this is nearly dry, rub on gold bronze powder 
with a piece of fur. Varnish with thin copal or mastic 
varnish when thoroughly dry. 

To Bronze Iron. 

The following is a method of giving to iron the ap- 
pearance of bronze without coating it with any metal 



8 DECORATION OF METAL, WOOD, GLASS, ETC. 

or alloy. The article to be treated is first cleaned and 
then coated with a uniform film of some vegetable oil; 
this done, it is exposed in a furnace to the action of a 
high temperature, which, however, must not be strong 
enough to carbonize the oil. In this way the cast-iron 
absorbs oxygen at the moment the oil is decomposed, 
and there is formed at the surface a thin coat of brown 
oxide, which adheres very strongly to the metal and 
will admit of a high polish, giving it the appearance of 
fine bronze. 

To Bronze Iron Castings. 

The castings must be first thoroughly cleaned, then 
immersed in a solution of sulphate of copper, when the 
castings will acquire a coat of the copper. Wash in 
water. 

Bronzing Articles Made of Iron Wire. 

Clean the wire perfectly, then immerse it in a solu- 
tion of sulphate of copper until covered with a coating 
of metallic copper. Then wash and immerse the articles 
in the following solution: 

2 oz. of verdigris, 

1 oz. of salammoniac, 

1 pint of vinegar. 
Dilute with water until the fluid tastes slightly me- 
tallic; then boil for a few minutes and filter. The 
articles are steeped in this liquid at the boiling point 
until the desired color is produced, but they should not 
be kept in too long. When taken out, wash in hot water 
and dry. 



RENOVATING METALS BY BRONZING. r 

Size for Bronzing Powder for Iron. 

To 1 pint of methylated spirit or "finish," add 4 oz. 
of shellac and \ oz. of gum benzoin. Allow the mixture 
to digest in a warm place, shaking it occasionally. 
When the solids are dissolved, allow the fluid to stand 
in a cool place for the dregs to settle. Then pour off 
the clear portion for fine work, reserving the sediment 
for coarser work by mixing it with more alcohol and 
straining. Add the bronze powder in sufficient quanti- 
ty and apply the compound to the clean, warm iron, 
using a soft brush. Repeat after drying, if necessary. 
Thin with alcohol, if desirable, to avoid wrinkles and 
brush marks. Varnish over all. 



METHODS OF BRONZING ORNAMENTS OF 
COPPER, ELECTROTYPES, ETC. 

No. 1. — Thoroughly clean and polish the surface 
of the article, and with a brush apply the common crocus 
powder, previously made into a paste with water. AVhen 
dry, place it in an iron ladle or on a common fire shovel 
over a clear fire for about one minute. When sufficiently 
cool, polish with a plate brush. By this process a bronze 
similar to that on urns is produced, the shade depend- 
ing on the duration of the exposure to the fire. 

No. 2. — By substituting finely-powdered plumbago 
for the crocus powder in the above process, a beautiful 
deep and permanent bronze appearance is produced. 

No. 3. — Rub the metal with a solution of potassium 
sulphide (liver of sulphur) ; then dry. This process 
produces the appearance of antique bronze very closely. 

No. 4. — Dissolve 2 oz. of verdigris in vinegar and 
make into a paste with 2 oz. of vermilion, 5 oz. of salam- 
moniac, 5 oz. of alum. Spread this paste over the sur- 
face of the copper (previously well cleaned and bright- 
ened uniformly), warm the article by the fire, and after- 
wards wash well and dry. Then, if the tint be not deep 
enough, the process may be repeated. The addition of 
a little sulphate of copper inclines the color to a chest- 
nut brown, and a little borax to a yellowish brown, 

10 



METHODS OF BBOKZING ORNAMENTS, ETC. 11 

No. 5. — Dissolve 1 oz. of salammoniac, 3 oz. of cream 
of tartar, 6 oz. of common salt in 1 pint of hot water. 
Then add 2 oz. of nitrate of copper dissolved in -J pint 
of water. Mix well and apply the fluid repeatedly to 
the article. Work in a damp place, using a brush for 
]aying on the fluid. 

Bronze Imitation of Mildew. 
Dissolve equal weights of nitrate of iron and hypo- 
sulphite of soda in 8 times their weight of water, and 
steep the articles in this fluid until of the right tint. 
Then wash well with water, dry and brush (1 part of 
chloride of iron to 2 parts of water imparts to brass a 
fine antique green). Brush well and lacquer with pale 
gold or lacquer. Polish with oil. 

To Bronze Paper. 

Gum is substituted for drying oil in bronzing paper. 
When it is dry, the paper is submitted to the action of 
the burnisher, which imparts great brilliancy to it. 

Renovating Metals by Browning. 

The following processes are generally used for the 
browning of sporting guns and rifles : 

No. 1. — Scour the metal brightly with fine glass 
paper, heat over a fire, then brush the metal with this 
solution : 

5% crystallized acetate of copper, 
7% chloride of ammonium, 
3% acetic acid, diluted, 
85% distilled water. 



12 DECORATION OF METAL, WOOD, GLASS, ETC. 

Appb r this to the metal and then rub with 1 part of 
wax dissolved in 4 parts of oil of turpentine. 

No. 2. — Ingredients: 

1-J- oz. of spirits of wine, 
li oz. of sweet spirits of nitre, 
1 oz. of sulphate of copper, 
| oz. of nitric acid. 

Mix and dissolve in 1 quart of warm water and keep 
in a glass bottle. Clean the barrel well with caustic 
soda solution to remove all grease or oil ; then clean the 
surface of all stains and marks by emery paper or cloth, 
so as to produce an even, bright surface for the acid to 
act on, and one without finger-marks. Stop up the bore 
and vent with wooden plugs. Then apply the mixture 
to every part with a sponge or rag and expose to the air 
for 24 hours, when the loose rust should be rubbed off 
with a steel scratch-brush. Use the mixture and the 
scratch-brush twice or more, if necessary, and finally 
wash in boiling water, dry quickly and wipe with lin- 
seed oil, or varnish with shellac. 

Browning for Twist Gun Barrels. 

Ingredients : 

i oz. of black brimstone, 
1^ oz. of tincture of steel, or the unmedicated 
tincture of iron, 

1 oz. of sulphate of copper, 
\ oz. of corrosive sublimate, 
\ oz. of sulphate of iron, 

2 drachms of nitric acid, 
li oz. of spirits of nitre. 



METHODS OF BRONZING OBNAMEHTS, ETC. 13 

Add 3 oz. of soft water and put in bottles for use. 
This mixture causes the twist of the barrel to be visible 
after application. 

Browning Ordinary Gun Barrels. 

Wet a piece of rag with chloride of antimony, dip it 
in olive oil and rub over the barrel. In 48 hours it will 
be covered with a fine coat of rust. Then rub the barrel 
with a fine steel scratch-brush and wipe with a rag 
dipped in boiled linseed oil. 

Browning Iron and Steel. 

Dissolve in 4 parts of water, 2 parts of crystallized 
iron chloride, 2 parts of chloride of antimony and 1 
part of gallic acid, and apply the solution with a cloth 
or rag to the article and dry it in the air. Repeat this 
any number of times, according to the depth of color it is 
desired to obtain. Wash with water, then dry, and 
finally rub the article over with boiled linseed oil. The 
metal thus receives a brown color and resists mois- 
ture. The antimony chloride should be as little acid as 
possible. 

Bronzing Powders. 

These powders are made of metallic alloys, beaten 
into leaf or foil, which is subsequently reduced to a pow- 
der form by rubbing up with honey or gum water and 
then washing away the water and collecting the powder. 

Gold Bronze Powder. 

This is made by grinding gold leaf with honey as 
just described. "German" gold is a yellow alloy leaf 



14 DECORATION OF METAL, WOOD, GLASS, ETC. 

similarly treated. Silver bronze is made in the same 
way from silver leaf or else by dissolving silver in nitric 
acid and precipitating by means of polished copper put 
into the fluid. 

Mosaic Gold. 

Mosaic gold is made by incorporating and grinding 
together : 

16 parts of tin, 
.7 parts of flowers of sulphur, 
8 parts of mercury, 
8 parts of salammoniac. 
This mixture is put into a clay crucible and a cover 
put on. Then the mixture is heated until it sublimes 
and a flaky gold-colored powder remains in the matrass. 



Copper Bronze. 

Copper bronze is obtained by saturating nitrous acid 
with copper and then precipitating the copper by put- 
ting strips of iron in the fluid. 

An Imitation Gold Powder. 

This is made by grinding into a paste with oil and 
then fusing : 

4 oz. putty powder (tin oxide), 
2 oz. borax, 
8 oz. verdigris, 
2 oz. nitrate of potash, 
^ oz. bichloride of mercury. 



METHODS OF BRONZING OMAMENTS, ETC, 15 

A Red-Gold Powder. 

A red-gold powder is made by calcining at a white 
heat for 20 minutes: 

10 oz. of sulphate of copper, 
6 oz. of carbonate of soda. 

Mix and incorporate by heat. Then cool, reduce to 
powder and add 15 oz. of copper filings. Mix and 
then keep at white heat as stated. Then cool, powder, 
wash and dry. 

Bronzing Plaster Casts. 

No. 1. — Coat the figure with isinglass size until the 
surface remains in a moist state and will absorb no more. 
Then touch it lightly and sparingly with gold size and 
put it away in a clean, dry place for 48 hours. Touch 
the figure all over with bronze powder and after the 
lapse of 24 hours brush off all the loose powder, par- 
ticularly from the projecting parts of the figure. 

No. 2. — The following is given as a process used in 
France for this purpose: Linseed-oil soap is made by 
saponifying the oil with caustic soda and precipitating 
the soap with salt. It is separated, dissolved in rain 
water, and a mixture in solution of 4 parts of blue 
vitriol and 1 part copperas is added as long as a pre- 
cipitate forms. This is filtered out, washed and dried 
and 8 1 oz. are applied with 1 lb. of quick-drying varnish 
and 5f oz. of white wax. This is applied to the surface, 
previously heated, and is baked in if necessary. The 
high parts are touched up with a bronze powder. As a 
simpler process, shellac the bust, then gild it with bronze 
powder, and varnish. 



16 DECORATION OF METAL, WOOD, GLASS, ETC. 

To Bronze Rifles. 

Take the breeches out and stop the orifices at each 
end ; rub barrels over with hot lime to take off all grease, 
and then clean them carefully. Do not touch the bar- 
rels with your hands. Get from a chemist 60 drops of 
sweet spirits of nitre, 60 drops of tincture of iron, 16 
grains of sublimate of mercury, 16 grains of green cop- 
peras, 16 grains of blue vitriol; add 4 tablespoonfuls 
of water, then, with a pad of cotton wool, wet the bar- 
rels and leave them until well rusted. Polish with steel 
brush, to be obtained from a gunmaker ; repeat ten times, 
then wash with boiling water and oil. Be careful with 
stain as it is deadly poison. 



Bronzing Wood. 

No. 1. — The wood is first covered with a uniform 
coating of glue or of drying oil, and when nearly dry 
the bronze powder, contained in a small bag, is dusted 
over it. The surface of the object is afterwards rubbed 
with a piece of moist rag, or the bronze powder may 
be previously mixed with the drying oil and applied 
with a brush. 

No. 2. — First coat the wood with a mixture of size 
and lampblack, then apply two coats of the green-colored 
size in the last recipe and lastly with bronze powder, 
such as powdered Dutch foil, mosaic gold, etc., laid on 
with a brush. Finish with a thin solution of Castile 
soap and when dry rub it with a soft woolen cloth. 



METHODS OF BRONZING ORNAMENTS., ETC. 17 

Bronzing Tin Castings. 

When clean, wash them with a mixture of 1 part 
each of sulphate of iron and copper in 20 parts of water ; 
dry, and again wash with 11 parts of distilled vinegar 
and 4 parts of verdigris. When dry, polish with col- 
cothar. 

To Bronze Zinc. 

First give a coat of brass (by electrolytic action), 
then wet with a cloth dipped in copper protochloride 
dissolved in hydrochloric acid. When dry. brush with 
a mixture of equal parts of iron peroxide and plumbago 
mixed up with a little essence of turpentine. Varnish 
with thin copal varnish. 

To Give Sheet Tin and Tinned Articles the Red Color of 

Copper. 

Dissolve 18 drachms of sulphate of copper in soft 
water until the water is saturated, and then add 80 to 
100 drops of sulphuric acid. Cleanse the tinware with 
onion juice, then brush it with the above fluid. When 
dry, rub with chalk and rinse. 



METALLIC COATINGS, DIPS, STAINS, ETC. 

Apparatus and Process for Coating Tools. 

Metallic tools and other articles, particularly those 
consisting of iron and steel which are used in labora- 
tories or other workshops where acid vapors are of fre- 
quent occurrence, can be protected from rust with a 
black shining coat which resists acids and is but little 
affected even by a low red heat, as follows: Have a 
sheet-iron box constructed large enough to hold all the 
tools, etc., to be coated, and provided with a false bot- 
tom of wire netting. Underneath this is placed a layer 
of crushed blacksmiths' coal about ^ of an inch deep; 
then place the tools, which must be entirely free from 
rust, clean and polished, upon the wire net. The box 
is then covered and set on a strong fire, which causes 
the coal to give off tarry constituents, and the heat is 
continued until the bottom of the box is at a red heat. 
When all evolution of gas has ceased, the box is al- 
lowed to become cold and the tools are taken out and 
will be found covered with a beautiful glossy coat. 
Tongs, shears, pincers, etc., so coated, keep in good 
condition for many months, even in places where the 
air is constantly, mixed with acid vapors. 

Bronzing Copper. 
Dissolve 30 parts of carbonate or hydrochlorate of 
ammonium and 10 parts each of common salt, cream of 

18 



COATINGS AND DIPS. 19 

tartar and acetate of copper in 100 parts of acetic acid 
of moderate concentration, or in 200 parts of strong vin- 
egar, and add a little water. When an intimate mix- 
ture has been obtained, smear the copper object with 
it and let it dry at an ordinary temperature for 24 or 
48 hours. At the end of that time the object will be 
found to be entirely covered with verdigris, present- 
ing various tints. Then brush the whole and especially 
the reliefs with a waxed brush, and, if necessary, set 
off the high reliefs with hermatite or chrome yellow or 
other suitable colors. Light touches with ammonia give 
a blue color to the green portions. Carbonate of am- 
monium deepens the color of the part on which it is 
laid. 

Gilding of Steel. 

Dissolve pure gold in nitro-muriatic acid, and evap- 
orate the solution to dryness to expel the excess of acid. 
Dissolve the residue in pure water and add 3 times the 
quantity of sulphuric ether. Then shake the mixture 
in a well-stoppered bottle, until, when standing quietly, 
the ether appears of a golden-yellow color and the 
water beneath it is entirely clear. Polished articles of 
steel plunged into the solution are instantly and beau- 
tifully gilded. By protecting portions of the surface 
of the articles with varnish or lacquer, beautiful de- 
signs can be produced. If the gilding should not turn 
out well at first, dilute the liquid with ether. Care 
should be taken not to execute the work near a light or 
fire. 



20 DECORATION OF METAL, WOOD, GLASS, ETC. 



Gold and Orange Stain for Brass. 

Dip the articles in a mixture of 3 drachms of caustic 
soda, 2 oz. of water, and 5^ drachms of moist carbonate 
of copper. The shades of color appear in a few minutes 
and the progress can be readily observed. After ob- 
taining the desired shade of color, rinse the articles 
in water and dry in fine sawdust. 



Green Bronzing. 

The repeated applications to copper or brass of a 1 - 
ternate washes of dilute acetic acid and exposure to 
the fumes of ammonia will give a very antique-looking 
bronze, but a quick method of producing a similar ap- 
pearance is often desirable. To this end the articles 
may be immersed in a solution of 1 part of perchloride 
of iron in 2 parts of water. The shade becomes darker 
with the length of immersion. Or the articles may be 
boiled in a strong solution of nitrate of copper, or may 
be immersed in a solution of 2 oz. of nitrate of iron 
and 22 oz. of hyposulphite of sodium in 1 pint of water. 
Washing, drying and burnishing completes the process. 



To Cleanse Brass. 

Pip the articles in a mixture of 1 part of nitric acid 
and i part of sulphuric acid, rinse in water and finally 
rub with sawdust. If greasy, dip the brass first in a 
boiling-hot solution of potash lye. 



COATINGS AND DIPS. 21 

Process of Producing a Bronzed Surface on Iron. 

The cleansed objects are exposed to the vapors of a 
heated mixture of equal parts of concentrated hydro- 
chloric acid and nitric acid for a few minutes, and 
heated to a temperature of from 572 to 562° F., the 
heating being continued until the bronze color appears. 
The objects are then cooled, rubbed with vaseline and 
heated until the latter begins to decompose, the operation 
being repeated once more. A bronze-colored oxide coat- 
ing is obtained by using acetic acid in conjunction with 
the above-mentioned acids. By varying the proportions 
of the different acids, it is possible to obtain light and 
dark shades. Iron bars coated in this manner and ex- 
posed for a year to the atmosphere of a laboratory, re- 
main unchanged and without the slightest sign of cor- 
rosion. 

Method of Painting on Zinc. 

This metal is a very difficult one to paint. Most 
paints fail to adhere, but by following the method here 
given, the metal will take almost any kind of paint. 
Make a mixture of 1 part each of nitrate of copper and 
salammoniac dissolved in 64 parts of water. To this 
mixture add 1 part of commercial hydrochloric acid. 
Brush this fluid over the plate of zinc. After 12 or 24 
hours it dries a dullish gray color. Paint can then 
be laid on this metal and will perfectly adhere. 

Another method is as follows: Into some hydro- 
chloric acid of full strength, drop some pieces of zinc 
until effervescence ceases. Add an equal quantity of 
water and ; with a sponge tied to a stick, wash over 



22 DECORATION OF METAL, WOOD, GLASS, ETC. 

every part of the surface to be painted. This roughens 
the surface and takes off that sort of greasiness which 
prevents paint from adhering. After the acid has re- 
mained a short time, wash it over with water or diluted 
vinegar, dry off and paint. 

Bronzing Amalgam. 
Take equal parts of mercury, tin, sulphur and sal- 
ammoniac. First melt the tin, then pour the mercury 
into it. When the combination thus formed has be- 
come cold, rub it together with the sulphur and sal- 
ammoniac. Place the mixture in a crucible and heat 
until all the powders in the crucible become gold-colored 
and fumes of mercury begin to arise. 

Copper-Colored Bronze Powder. 

Dissolve some metallic copper in nitric acid (using a 
bottle well corked and placed in the open air, because 
the dense, ruddy fumes of nitrogen oxides that are 
evolved are dangerously poisonous to inhale) until the 
acid is saturated with the metal (i.e., will not dissolve 
any more). Then put a small piece of iron in the solu- 
tion and electrolytic action will be set up whereby the 
copper will be deposited as a pure metallic precipitate. 
Calcine the precipitate, wash it carefully, then dry and 
put in well-closed bottles for use. 

Commercial Bronze Powders. 

Commercial bronze powders are prepared by beating 
metal alloys to very thin sheets in a similar way to gold 
leaf, and then rubbing this foil on a stone with honey 



COATINGS AND DIPS. 23 

or thick gum water until the metal is broken into fine 
powder, when the adhesive is washed away and the 
residue collected in a filter. The alloys employed con- 
sist of the following materials : 

Pale yellow bronze powder : 
83-33% copper, 
16-69% zinc, 
0.16% iron. 

Bright yellow: 

84-50% copper, 
15-30% zinc, 
0-07% iron. 

Orange : 

98-93% copper, 
0-73% zinc, 
0-08% iron. 

Green : 

84-32% copper, 
15-02% zinc, 
0-03% iron, 
Trace of tin. 

Copper-red : 

99-90% copper, 
Trace of tin. 

Eeddish-yellow : 

90-00% copper, 
0-80% zinc, 
0-20% iron. 



24 DECORATION OF METAL, WOOD, GLASS, ETC- 

Violet: 

- _ . copper, 
0-50% zinc, 
0-30% iron. 
Trace of tin. 

White: 

2-39% copper, 

0-56% iron, 

66-46% tin. 

Bronze for Plaster of Paris Figures. 

The mass used for this purpose is prepared as fol- 
lows : Linseed oil is boiled to a soap with soda lye, 
common salt being added until the soap separates. This 
soap is then dissolved in soft water and mixed with 

solution of 4 parts of sulphate of copper and 1 part 
of sulphate of iron until a precipitate is no longer pro- 
duced. The soap is washed and used for preparing the 
antique areen connection with a varnish prepared from 
12| oz. of litharge and 3^ lbs. of linseed oil and wax. 
Now melt together 1 lb. of varnish and SJ oz. of the 
bronze soap and o-|- oz. of white wax. Apply this to the 
figure (which should be heated previously to 190* F. 

us of a brush. If necessary, put the plaster 
figure in a heated box until it is thoroughly penetrated 
with the color. The raised parts are rubbed with 
bronze powder. 

Renovating Metals by Gilding. Platinizing. Etc. 
To give a coating of nickel on iron without the use 
of electrici:v ; Take a solution of chloride of zinc of 



COATINGS AND DIPS. 25 

5 to 10% strength and add sufficient salt to give the 
usual nickel-colored bath ; then immerse the iron article 
(cleaned and free from grease) in this compound for \ 
hour. 

Platinizing Metal. 
Take a solution of platinum chloride and slowly add 
some salammoniac. Collect the precipitate that is 
thrown down, mix this into a paste with finely-powdered 
borate of lead and a little water. Cleanse the metal 
article and then lay on a coating of this mixture and 
submit the article to a strong heat in a sheet-iron muffie. 

General Process of Platinizing Metals. 
Optical instruments, etc., are platinized by boiling 
them in a solution of § oz. of ammonia chloride, chlor- 
ide of platinum, and 3 oz. of salammoniac in 14 oz. of 
water. This solution may also be used for copper and 
brass articles. 

Platinum Plating. 

Platinum, plating is usually carried out by processes 
that are carefully guarded by the operators, but the 
following data will be useful: First, there are two 
methods of platinum plating: (1) By dipping with- 
out the use of a battery, i.e., boiling; (2) by electro- 
lysis. Copper and its alloys are best adapted for platin- 
izing, as the platinum adheres well to them, but not 
very well to iron, zinc, tin and lead. The following so- 
lution is recommended for platinizing by the first 
method ; 



20 DECORATION OF METAL, WOOD, GLASS, ETC. 

One part of pure chloride of platinum in solid form 
and as neutral as possible, and 10 parts of antimony, 
pure sodium hydrate is then carefully pound on the 

[ium lye. When the two solutions have become thor- 
oughly mixed, add ammonia until the mixture shows a 
perceptible odor of it. The bath is then heated to the 
boiling point and the article (thoroughly cleansed) is 
dipped into it. As soon as it has acquired a white, bril- 
liant coating, rinse in hot water, dry in sawdust, and, 
if necessary, again dip. This coating, no matter how 
well it may look, will necessarily be very thin and not 
capable of resisting acids, scouring, etc. 

The following is a good method of carrying out the 
second process : 

Dissolve 10 drachms of pure chloride of platinum in 
7 oz. of water; then dissolve 12 oz. of ammonia phos- 
phate in 7 oz. of water. Mix this with the solution of 
platinum, disregarding the precipitate which is formed. 
In the meanwhile raise lOi oz. of water and 3} oz. of 
sodium phosphate to the boiling point and add, while 
this is boiling, the thoroughly-shaken solution above 
described. Continue to boil the mixture until the fluid 
is entirely clear and the odor of ammonia entirely dis- 
appears and the solution, at first alkaline, ceases to im- 
part a blue color to reddened litmus paper. When this 
bath has cooled and has been filtered, it is ready for 
use. It requires a strong, constant current and a large 
anode. According to one authority, copper and brass 
can be electroplated with platinum to any thickness by 
boiling the article from time to time in the solution 
of platinum and scouring this with whiting. The salt 



COATINGS AND DIPS. 27 

of platinum used is prepared in the following man- 
ner: 100 parts of potash hydrate dissolved in water 
are added to a solution in water of the chloride of plat- 
inum obtained from 100 parts of metallic platinum. 
The minute yellow crystals of platinum chloride which 
are formed are heated with 20 parts of oxalic acid in a 
porcelain vessel until they disappear; and when the 
solution is complete, 300 parts more of potassium chlor- 
ide dissolved in water are added. 



Plating With Aluminum. 

Dissolve any desired quantity of aluminum salt, such 
as the sulphate, chlorate, nitrate, acetate, cyanide, etc., 
in distilled water and concentrate the solution to 20 
Beaume in a suitable vessel to hold the articles to be 
plated. The battery to be used should be 3 pairs of 
Eunsen's cells with the wires coupled up for intensity 
and an anode of aluminum attached to the negative wires. 
The solution should be slightly acidulated with its ap- 
proximate acid heated to 140° F. and kept at that tem- 
perature during the operation. 

To Gild Copper by Boiling. 

Take a liquid amalgam consisting of 4 parts of mer- 
cury, 2 parts of zinc and 1 oz. of gold. Mix this amal- 
gam with S parts of hydrochloric acid and add 1 oz. of 
salt of tartar ; cleanse the copper thoroughly with nitric 
acid and then boil it in the fluid until it has assumed 
a bright gold color. 



2S DECOKATIOX OF METAL, WOOD, GLASS, ETC. 

To Increase the Brilliance of Gilded or Plated Ware. 
Convert the following ingredients to a very fine 
powder : 

5 oz. of sulphur, 
2 oz. of alum, 

1 oz. of turmeric, 

2 oz. of arsenic, 
1 oz. of native antimony. 

Separately prepare the following liquid : 

3 oz. of salammoniac, 
1 oz. of common salt, 

6 oz. of vinegar, 
26 oz. of water. 

Boil the fluid for half an hour, and then steep the 
article in it until the color is sufficiently brilliant. 

Chemical Fluids for Coloring Metals. 
These liquids are used simply by dipping the metal 
article in them for a sufficiently long time. 

The following solutions are for coloring brass, simply 
by immersion: 

Xo. 1. — Brown tones to black: 
1 pint of water, 
5 drachms of nitrate of iron. 
Xo. 2. — Brown and all shades to black: 
1 pint of water, 

5 drachms of protochloride of iron. 
Xo. 3. — Brown and all tones to red: 
1 pint of water, 
16 drachms of nitrate of iron, 
16 drachms of hyposulphite of soda. 



COATINGS AND DIPS. 29 

No. 4. — Brown and every shade to red : 
1 pint of water, 
16 drachms of hyposulphite of soda, 
1 drachm of nitric acid. 

No. 5. — Brownish-red: 
1 pint of water, 
1 oz. of nitrate of copper, 
1 oz. of oxalic acid. 

No. 6. — Brownish-red: 

1 pint of a solution of ferrocyanide of potash, 

3 drachms of nitric acid. 

No. 7. — Dark-brown: 

1 pint of water, 

1 oz. of cyanide of potassium, 

4 drachms of nitric acid. 

No. 8. — Yellow to red : 

1 pint of water, 

i oz. of terchloride of arsenic, 
6 drachms of pearlash solution. 

No. 9. — Orange: 

1 pint of water, 

1 drachm of a solution of sulphide of potash. 

No. 10. — Olive-green: 

2 pints of water, 

2 drachms of perchloride of iron. 

No. 11.— Blue: 

1 pint of water, 

2 drachms of hyposulphite of soda. 



30 DECORATIOX OF METAL, WOOD, GLASS, ETC. 

Xo. 12.— Slate: 

1 pint of water, 

5 drachms of perchloride of iron, 

2 drachms of sulphocyanide of potash. 

Xo. 13. — Steel-gray: 

1 pint of water, 

1 oz. of tersulphide of arsenic. 

Xo. 14.— Black: 

1 pint of water, 

4 drachms of perchloride of iron, 
10 drachms of tersulphide of arsenic. 

X. B. — Xo. 6 must be boiled and cooled. It is slow 
in action, being about one hour in producing the color. 
Xo. 13 must be used at 1S0° F. or over. 

Chemical Solution for Coating Copper by Simple 
Immersion. 

Xo. 1. — Dark-brown drab: 

1 pint of water, 

5 drachms of nitrate of iron, 

2 drachms of sulphocyanide of potash. 

Xo. 2. — Dark -brown drab: 
1 pint of water, 
1 oz. of sulphate of copper, 

1 oz. of hyposulphite of soda, 

2 drachms of hydrochloric acid. 

Xo. 3. — Brown and every shade to black: 
1 pint of water, 
5 drachms of nitrate of iron. 






COATttfGS AM) DIPS, SI 

3To. 4. — Bright red: 

1 pint of water, 

2 drachms of sulphide of arsenic, 
1 oz. of pearlash. 

No. 5. — Red and every shade to black: 

1 pint of water, 

1 drachm of pearlash, 

1 drachm of sulphur. 
No. 6.— Steel-gray (use at 180° F.) : 

1 pint of water, 

1 drachm of chloride of arsenic. 

Chemical Coloring Solution for Zinc. 
No. 1.— Black: 

1 pint of water, 
15 drachms of nitric of iron. 
No. 2.— Black: 

1 pint of water, 

1 drachm of protochloride of tin. 
No. 3. — Dark-gray: 

1 pint of water, 

1 drachm of protochloride of tin, 

1 drachm of sulphocyanide of potash. 
No. 4. — Dark-gray: 

2 pints of water, 

1 drachm of sulphate of copper, 

1 drachm of chloride of iron. 

N. B. — Make this to the consistency of cream. 
No. 5. — Green-gray: 

2 pints of water, 

1 drachm of chloride of iron. 



32 etc. 

Xo. 6. — ( lo] 

1 pint of water, 

4 dra ite of copper, 

4 drachms of pearlash. 
No, 7. — Co jolor (with agitation): 

1 pinl 

B Irachms 

B drachms of hyposulphil s la. 

Coloring by Sulphides of Metals. 
tals may be 1 quickly by forming on the 

surface a coating of a thin film of a sulphide. By an 
immersion of five minute?, brass articles may be coated 
with colors varying from gold to t red, then to 

carmine, dark red, and from a light to a bine white and 
at last a reddish white, according to the thickness of the 
coat, which depends on the length of time the me 
remains in the solution used. The color ] - a 

very good lustre and if the article to he colored has been 

ivionsly well cleaned by means of acids and alkali 
they adhere so firmly that they may be burnished. To 
prepare the solvent, dissolve 1} oz. of hyposulphite of 
b la and It oz. of acetate of lead, also d in 1 

pint of water. Mix the two fluids and heat to 190 to 
200° F. It decomposes slowly and precipitates sulphate 
of lead in brown globules. If metal is present, put the 
sulphate of lead deposited therein, and. according to 
the thickness of the deposit, the abo - are pro- 

duced. To produce an even coloration, the surface must 

I. When heated with this solution it takes 
steel-blue, zinc or brown color. In the case of 



COATINGS AKD DIPS. 33 

copper articles, the pure gold color does not appear. If 
instead of the acetate of lead an equal weight of sul- 
phuric acid is added to the sodium hyposulphite, and 
the process carried on as before, the brass becomes 
coated, first with a very beautiful red, which is followed 
by a green and changes finally to a splendid brown with 
green and red iridiscium. The metal should be thor- 
oughly cleaned of oil and grease before immersion in 
the liquid and only by practice can particular colors be 
obtained. Then when the article is lifted from the 
water allow the transferred film to dry in a warm room ; 
it will then become hard-lustred and have the iridescence 
of mother-o'-pearl. 



DRAWINGS. 

Drawings, to Fix. 

Xo. 1 . — Immerse the drawings in skimmed milk. A 
special fixative is sold for the purpose by dealers in art 
materials. Collodion, if very thin, might be used with 
advantage; it is often used for manuscripts. 

No. 2. — Flow with very thin collodion. 

Xo. 3. — Two tablespoonfuls of rice boiled in 1 pint 
of water; strain and pass the drawing quickly through 
the fluid. Use a large flat dish for the liquid. 

Xo. 4. — Prepare water-starch in the manner of the 
laundress and of such a strength to form a jelly when 
cold. Then apply with a soft camel's-hair brush as 
in varnishing. The same may be done with thin cold 
isinglass water or size or rice water. 

Mounted Drawings on Linen. 
The linen or calico is first stretched by tacking it 
tightly on a frame or stretcher. It is then thoroughly 
coated with thick size and left until nearly dry. The 
sheet of paper to be mounted requires to be well covered 
with paste. This will be best if done twice, allowing 
the first coat about 10 minutes to soak into the paper. 
After applying the second coat, place the paper on the 
linen and dab it all over with a clean cloth. Trim off 
when thoroughly dry. 

84 



DRAWINGS. 35 

Drawings, to Mount and Varnish. 

Paste the drawing on the background. Flour paste 
is as good as any, and, when it is dry, size the surface 
with a solution of gum arabic or white glue. When that 
is dry use any varnish you please. For a delicate picture 
or drawing, dammar varnish is the best, but it must 
be applied evenly to secure a smooth surface. 

Drawing on Glass. 

To write or draw on glass it is necessary to impart 
to the surface a certain degree of roughness. This 
may be done by grinding or etching, but much more 
easily by applying some appropriate varnish. 

A good matt varnish is made by dissolving in 2 oz. of 
ether, 90 grams of sandarac and 20 grams of mastic, 
adding -J to 1|- oz. of benzol, according to the fineness 
of the matt required. The varnish is applied to the 
cold plate after it has set. The glass may be heated 
to ensure a firm and even grain. To render the glass 
again transparent after writing upon it, apply with a 
brush a solution of sugar or gum acacia. 

To Waterproof Crayon and Charcoal Drawings, 
Maps and Prints. 

Cut up some gutta-percha and dissolve it in a large 
bulk of ether in a closed bottle stood in a vessel of hot 
water. Pour off the fluid from the dregs and apply 
the clear liquid to the drawing or surface to be pre- 
served, layingjt on lightly with a flat varnish brush. It 
forms a transparent waterproofing film for the surface. 



DYES AXD FOILS. 

Marble, to Stain or Dye. 

No. 1. — In staining' marble, it is necessary to heat it, 
but not so hot as to injure it, the proper heat being 
that at which the colors nearly boil. Blue is produced 
with aniline Indigo dye; red, by dragon's blood in alco- 
hol ; yellow, by gamboge in alcohol ; gold color, by sal- 
ammoniac, ammonium chloride, zinc sulphate and verdi- 
gris in equal parts ; green, sap green in alcohol, potas- 
sium hydroxide; brown, tincture of logwood; crimson, 
by a solution of alkanet root in turpentine. Black spots 
may be produced with silver nitrate. 

No. 2. — Marble can be stained different colors by the 
following substances: Blue, solution of litmus; green, 
wax colored with verdigris ; yellow, tincture of gamboge 
or turmeric ; red, tincture of alkanet or dragon's blood ; 
gold, equal parts of verdigris, salammoniac and sulphate 
of zinc in fine powder. 

To Dye Feathers with Aniline Colors. 

These dyes act on organic fibres of all kinds, conse- 
quently the feathers are easily dyed by simply steeping 
them in a solution, more or less of the selected dye, 
usually with a lukewarm temperature. The dye solvent 
should be strained or filtered before dipping the feathers 

30 



DYES AND FOILS. 



37 



and should be waved about in the dye liquor, then 
rinsed in cold water, dried and curled. 

For rose-red colors use a weak solution of fushine 
and a strong solution of carmine. For a greenish-blue, 
use Blue de Lyons. For a green, use a strong solution 
of aniline green. For a yellow, use a solution of yellow 
corallin. To give a bronzed appearance to the tips of 
the feathers, proceed as follows: Dissolve blue or red 
patent violet in 90% alcohol heated over a water bath. 
After the feathers have been dyed and oiled, brush 
the solution over the tips. This spirit quickly evapo- 
rates, leaving a bronzed appearance. If violet solution 
is in water, instead of spirit, the bronzing will rub off. 

To Dye Mother-o'-Pearl. 

Wash the thin plates of pearl in a lukewarm solution 
of potash. Then place them in a concentrated aqueous 
solution of the coloring matter and let them stand in a 
warm place, frequently stirring them. If the dye is 
to penetrate to some depth, the plates should remain in 
the coloring matter for two weeks, then rinsed and dried. 

Fancy Coloring of Metallic Foils for Backing Imitation 
Precious Stones. 

The word "foil" is from the Latin folium or from the 
French feuille, meaning a leaf; therefore metallic foils 
refer to thin leaves of polished metal which are used for 
putting under imitation precious stones or "paste" to 
heighten the color or effect of them. Formerly foils 
Were made of copper, tinned copper and tin and silvered 



38 DECORATION OF METAL, WOOD, GLASS, ETC. 

copper, but the latter is that wholly used for superior 
work at the present day. There are two kinds of foils 
employed, viz. : white, for diamonds and mock diamonds, 
and colored for the other gems. The latter is prepared 
by varnishing the former. By their judicious use the 
color of a stone may be often modified. Thus, by placing 
a vellow foil under a green stone that turns too much 
on the blue, or a red turning too much on the crimson, 
the hues will be brightened. 

Xo. 1. — White or Common Foil. — This is made by 
coating a plate of copper with a layer of silver and then 
rolling it into thin sheets in the flatting mill. The foil 
is then highly polished or varnished. 

]STo. 2. — Colored Foils. — These are made by coloring 
the preceding foil, highly polished, with certain trans- 
parent solutions or varnishes. The following produce 
beautiful colored effects when judiciously employed 
with oil. 

ISTo. 3. — Blue. — Prussian blue (preferably Turn- 
bulPs) ground with pale, quick-drying oil. This is used 
to deepen the color of sapphires. It may be diluted with 
oil. 

Ko. 4. — Green. — (a) Pale shellac, dissolved in alco- 
hol and tinged green by dissolving verdigris or acetate 
of copper in it. (b) Sesquiferro-cyanide of iron and bi- 
chromate of potash, ^ oz. of each. Grind them with a 
stone and muller to a fine powder, add 2 oz. of clean 
mastic in fine powder, grind again, add a little pyroxilic 
spirit, and grind them until the mass becomes homogene- 
ous and of a fine transparent green. The beauty in- 
creases with the length of the grinding. The predomi- 



BYES AND FOILS. 39 

nance of the bichromate turns it on the yellowish green, 
that of the salt of iron on the bluish green. For use, 
it is to be thinned with pyroxilic spirit. This compound 
is used for emeralds. It may be brightened by adding 
a little yellow varnish. 

No. 5. — Yellow. — (a) Various shades of yellow may 
be produced by tinging a weak alcoholic solution of shel- 
lac or mastic, by digesting turpentine, annotto, saffron, 
or soccotrine aloes therein. The former is the bright- 
est and most fit for topazes. (&) Digest hay saffron in 
five or six times its weight of boiling water until the 
latter becomes sufficiently colored, filter and add a 
little solution of gum or isinglass. When dry, a coating 
of spirit varnish should be applied. 

No. 6. — Red. — Carmine dissolved in spirits of harts- 
horn (liquid ammonia) or a weak solution of salt of 
tar and gum added as above. 

No. 7.- — Vinegar Garnet. — Orange lake finely tem- 
pered with shellac varnish. 

No. 8. — Garnet. — Dragon's blood dissolved in rec- 
tified spirits of wine. 

No. 9> — Amethyst. — Lake and Prussian blue finely 
ground in pale drying oil. 

No. 10. — Aquamarine. — Verdigris tempered in shel- 
lac varnish (alcoholic) with a little Prussian blue. 

No. 11. — Ruby. — (a) Lake or carmine ground in 
isinglass. (&) Lake ground in shellac varnish. This is 
used when the color turns on the purple, (c) Bright 
lake ground in oil ; this is used when the color turns ou 
the scarlet or orange, 



40 DECOBATION OF METAL, WOOD, GLASS, ETC. 

Xo. 12. — Diamond. — (a) Cover the inside of the 
socket in which the stone or paste is to be set with 
tinfoil by means of a little stiff gum or size. "When dry, 
polish the surface, heat the socket, fill it with warm 
quicksilver, let it rest for two or three minutes, then 
pour it out and gently fit in the stone; lastly, well close 
the work around the stone to prevent the alloy being 
shaken out. (&) Coat the bottom of the stone with a 
film of real silver by precipitating it from a solution 
of nitrate of ammonia by means of the oils of cassia and 
cloves. 

Colors for Jewelers' Foils. 

Imitation diamonds and precious stones would not 
give half the lustre and sparkle they do unless backed 
by what are known as "jewelers' foils." These foils 
are colored variously so as to heighten the appearance of 
the stones, the colored side of the foil being placed next 
to the stone. The foil used by jewelers is made of 
copper, tin, silver, or combinations of any two of these. 
Some kinds of foils are made by rolling sheet metal to 
the requisite thickness, others by forming a solid cylin- 
der of the metal and shaving it as the cylinder rotates. 
The foils are further prepared by coloring, varnishing 
and polishing. White foil is colored in the following 
manner : 

Blue. 

Prussian blue is rubbed up with very quick-drying 
oil until the desired tone is obtained. A foil of this 



DYES AND FOILS. 41 

color is used for backing up sapphires so as to impart a 
deep shade to them. 

Green Foil. 

Dissolve shellac in alcohol and add sufficient verdigris 
to the solution to produce the desired tone. 

Red Foil. 

Dissolve carmine in ammonia or in white shellac var- 
nish or rubbed up with isinglass. The tone in either 
case can be modified by mixing and the color increased 
after the color has been applied to the foil by lacquering 
it. 

Yellow Foil. 

Apply a solution of mastic resin and turmeric or a 
solution of saffron and isinglass. 

Renovating Dutch Gold or Gilded Paper. 

To impart a crimson hue, boil seed lac or ruby lac in 
a solution of soda; then let it stand at rest for some 
time. Pour off the clear fluid and mix with glue or 
isinglass and a little sugar. Apply with a brush. 

Yellow Fluid for Dutch Gold and Foils. 

Pour boiling water over saffron and let it stand until 
cold ; then filter the yellow fluid and mix it with some 
glue or isinglass. Apply the yellow solution to the 
metal, and, when dry, lacquer it with a quick-drying 
spirit lacquer, 



42 DECORATION OF METAL, WOOD, GLASS, ETC. 

Green Fluid for Dutch Foil. 
Reduce to very fine powder: 15 parts of ferrocyanide 
of iron, 15 parts of bichromate of potash, and mix these 
powders with GO parts of mastic resin. Then pour on 
this compound sufficient wood spirit to make a clear 
fluid. Apply to the metal with a brush. 



IVORY AND BONE. 

Dyeing. 

These substances can be colored with aniline dyes 
without any preliminary preparation, but in some cases 
it is necessary to soak the substance in a weak, diluted 
sulphuric acid to which a little tartaric acid has been 
added. The steeping is continued until the surface is 
rough and can be pressed with the fingers. Instead of 
the above mineral acid, boiling vinegar may be used 
in which to steep the ivory or bone. After this treat- 
ment, the substances are dyed by dipping them in an 
alcoholic solution of the dye until the color has pene- 
trated the bone deep enough; then the material can be 
worked into the article for which it is intended. To re- 
store the substance to its original hardness, wrap it in a 
sheet of paper covered with dry decrepitated common 
salt (salt that has been heated on a plate in the oven) 
and allow to remain for 24 hours. 

Recipes for Different Colors for Ivory and Bone. 
Red. 

No. 1. — Steep the material in a dilute solution of 
aqua regia (this is made by mixing 1 part of hydro- 
chloric acid with 2 parts of nitric acid) and then put 
it into a strained decoction of Brazil wood or cochineal. 

43 



44 DECORATIOX OF METAL, WOOD, GLASS, ETC. 

No. 2. — Boil the ivory with f lb. of Brazil wood and 

1 gallon of water; then add J lb. of alum and boil 
once more. 

No. 3. — Dip the ivory in a weak solution of nitric 
acid and then steep it in the solution of carmine. By- 
using ammonia as the solvent for the carmine, a differ- 
ent tone of red is obtained than when water is used. 

No. 4. — Dip the ivory in a weak nitric acid and then 
in a solution of cochineal to which a small quantity of 
alum and tartaric acid has been added. 

Crimson Reds. 
!STo. 1. — Preparation of the Mordant. — Put the 
prepared and polished ivory in a solution of £ lb. of 
chloride of zinc and i pint of soft water. Allow it to 
remain there for 1 hour. Preparation of the Dye. — 
Boil for 5 minutes in a porcelain saucer 1 oz. of cochi- 
neal and 2 pinches of purified tartar in 1 pint of water. 
Then put the mordanted ivory in the fluid and boil 
until it has acquired a beautiful crimson color. If a 
darker tint is desired, repeat the process. Rinse the 
ivory with clean water, dry it, and then give a coat of 
bookbinders' lacquer (see lacquers in Index). 

Carmine Red. 
No. 1. — A carmine red is produced by rubbing 

2 drachms of carmine with 6 drachms of crystallized 
soda, and compounding them with 1^ pints of water to 
the solution. Add acetic acid slightly. Boil the ivory 
in this bath until it has acquired the desired color. 

No. 2. — The articles are first dyed in a decoction of 



1V0BY AND BONE. 45 

weld, and then in a solution of carmine. To prepare the 
latter, dissolve a pinch (as much as will lay on the 
point of a knife) of carmine in 4-| oz. of spirits of sal- 
ammoniac, dilute the solution with 1 pint of water and 
heat the fluid. Then put the articles in it and allow 
them to remain until they are sufficiently dyed. If the 
article be first mordanted by dipping in a solution of 
phosphate of tin instead of stannous sulphide, a more 
brilliant color will be acquired. 

Cherry Red. 

First dye the article in crimson color and then put 
it into a weak solution of potash until the crimson 
changes to a cherry red. 

Orange Yellow Color. 

No. 1.— Boil some rasped garlic in water for half an 
hour, stir the fluid, and then use the fluid as a dye bath, 
after first having dipped the ivory article in a solution 
of tin or aqua regia. 

No. 2. — By adding shavings of Brazil wood to the 
fustic, a solution will be obtained which will produce 
an orange color on the bone or ivory. 

No. 3. — Put the ivory into a concentrated solution 
of chloride of potash, and then into a boiling-hot solu- 
tion of acetate of lead in water. 

No. 4. — First mordant the ivory by clipping it in a 
solution of stannous sulphide or of alum, and then put 
it into a hot decoction of weld. 

No. 5. — Steep the ivory in a strong solution of yel- 



4G DECOKATION OF METAL, WOOD., GLASS. ETC. 

low orpiment (sulphide of arsenic), saturated with am- 
monia. 

Green Color. 

No. 1. — First dye the article a blue color (vide 
infra), then dip it in a solution of tin in aqua regia, 
and finish the dyeing in a decoction of fustic in water. 

No. 2. — Dip the article in a solution of verdigris 
(acetate of copper). This is a very poisonous sub- 
stance and should not be allowed to touch the flesh, as 
it will set up blood-poisoning if it gets into any cuts or 
cracks in the skin. 

No. 3. — Put the ivory for a few hours in a partially 
saturated solution of chromate of potash, and then ex- 
pose it to the direct rays of the sun, when it will ac- 
quire a dark bluish color. 

No. 4. — First dip the article in a solution of nitric 
acid, then into a solution of yellow prussiate of potash 
(ferrocyanide of potassium), and finally dip the article 
into a solution of picric acid (carbolic acid crystals). 

Blue Color/. 

No. 1. — Prepare a very dilute solution of sulphindi- 
gotic acid (this is sometimes called "indigo carmine"), 
which must be partially saturated with potash. By 
steeping the ivory in this solution for different periods 
of time, various tones of blue are obtained. 

No. 2. — Dissolve purified indigo (blue carmine) in 
water, and after having mordanted the ivory by dipping 
it in a solution of hydrochloric acid, steep it in the 
indigo solution. If nitric acid be used as the mordant, 
ytfMBtulting tone will be a greenish blue. 



■a* 



IVOBY AHD BONE. 47 

Purple. 
Boil the ivory in a decoction of logwood and to every 
pint of the decoction add 2 oz. of alum, and boil the 
articles in the fluid. 

Violet. 

No. 1. — Mordant the ivory by dipping it in a solution 
of tin (as given under carmine), and then put it into a 
decoction of logwood in water. 

]STo. 2.— Dye the ivory red and then dip for a minute 
in a solution of indigo. 

Lilac. 

Lilac is produced by putting the mordanted ivory in 
a nearly exhausted bath of logwood. 

Black. 

'No. 1. — Steep the ivory for some time in a dilute solu- 
tion of nitrate of silver and then expose it to the sun. 
Repeat this operation several times so as to produce a 
deep black color. 

~No. 2. — Boil the ivory in a strained decoction of 
rasped logwood. Then take it out and put it into a so- 
lution of sulphate of acetate of iron or else one of bi- 
chromate of potash. 

JSTo. 3. — Boil the article first in a decoction of gall- 
nuts and logwood and then in a solution of sulphate of 
acetate of iron. If, as in billiard balls, white stripes 
are desired on a black ground, saturate a piece of ribbon 
with wax, lay it around the ball and bind some twine 
round to keep the ribbon in its place. Where the rib- 



48 DECORATION OF METAL, WOOD, GLASS, ETC. 

bon touches, the ivory will be left uncolored. It should 
be noted that all colors adhere better to unpolished than 
to polished ivory, and it is therefore better to polish the 
articles after they have been dyed. The polishing is 
done by rubbing some soap and Vienna lime over the 
ivory with the palm of the hand. When dyeing by boil- 
ing, the boiling should not be long continued or else the 
ivory will become full of cracks; and it should also be 
cooled off quickly by being placed in cold water when 
taken out of the hot dye liquor. Instructions for dye- 
ing ivory and bone with aniline colors are given in an- 
other section. 

To Decorate Ivory With Black or Colored Etchings or 
Drawings. 

Melt together 1 oz. of mastic in tears, 1 oz. of wax 
and 9 drachms of powdered asphaltum. Mix well by 
stirring. Put the compound into tepid water to cool. 
Then roll it into balls of about 1 inch diameter. In- 
stead of the above a compound arranged as follows can 
be used : 2\ oz. of asphaltum, 1 oz. of rosin and 9 
drachms of white wax. To decorate the ivory, first 
warm the surface and then rub the wax compound all 
over it. Then etch in the drawing with an etching 
needle so as to scratch the surface of the ivory. Put the 
ivory into concentrated sulphuric acid, which will at- 
tack the ivory where it is exposed by the etching needle 
and blacken it. Afterwards remove the wax by warm- 
ing the ivory and rubbing off the wax with a cloth. 
X it rate of silver will also produce a black, while chloride 
of gold will produce a purple coloration. Any of the 



IVORY AND BONE. 49 

other colors already mentioned can be used. As the rub- 
bing off of the wax might spoil the etching, the wax is 
best removed by steeping the ivory in oil of turpentine. 

To Make Ivory Soft and Flexible. 

Put some phosphoric acid of 1.130 specific gravity 
into a wide-mouthed bottle and soak the ivory articles 
in this acid until they assume a transparent appearance. 
Then take them out of the acid, wash them carefully 
in water and dry them between soft cloths. The ivory 
will be found as soft as leather, but becomes hard again 
on exposure to the air. It can be made to assume its 
plastic condition by steeping in warm water. A weaker 
acid than the above will have no effect on the ivory. 

To Bleach Ivory Articles Fastened Upon Leather, Etc. 

Mix some hydrochloric acid with a solution of 
chloride of lime; this mixture will generate chlorine 
gas, which is a powerful bleaching agent. Apply the 
mixture to the ivory with a brush and then expose the 
ivory to the sun's rays. To prevent the leather being 
attacked by the bleaching agent, it is best to cut out a 
piece of paper to the shape or pattern of the ivory or- 
nament and lay this over the leather. If necessary, fill 
up the joint with wax. When the article is bleached, 
wash off the particles of lime with a brush and soft 
water. Polish with precipitated chalk. Several appli- 
cations of the above mixture must be made when bleach- 
ing horn. The acid used should be of concentrated 
strength, but a paste may be made (without acid), con- 
sisting of 1 part of water and 1 part of chloride of 
lime. 



50 DECORATION OF METAL, WOOD, GLASS, ETC. 

To Silver Ivory. 

Take a small piece of nitrate of silver and pound it in 
a mortar. Add some soft water to it, mix thoroughly 
and put in a bottle. Place the ivory article to be sil- 
vered in this solution and allow it to remain until it 
is of a deep-yellow color. Put it then in clean water 
and place it in the sun. If desired to draw any figure 
or name upon the ivory, it may be done with a camel's- 
hair pencil dipped in the solution. Wash well with 
water after the drawing has become a deep yellow and 
put it in the sunlight, occasionally wetting with soft 
water. Pub it after it has turned a deep-black color and 
it will change to a brilliant silver. 

]\Iake a weak solution of nitrate of silver, immerse the 
ivory in it and allow it to remain until the solution gives 
a deep-yellow color. Immerse it in clean water and ex- 
pose it in the water to the sun. It becomes black in 
about three hours. The black surface becomes a brilliant 
silver by rubbing. 



THE DECOEATION OF IKON, STEEL, ETC. 

Enamels and Vitreous Glazes. 

To enamel cast-iron articles, four compounds are em- 
ployed, one for the ground and the others for the sur- 
face or glazing. To prepare the ground for the enamel, 
mix together and fuse in clay crucibles, 110 parts of 
quartz, 50 parts of borax and 16| parts of fluorspar. 
Take 35 lbs. of this mass and mix it with 14 to 27-J lbs. 
of quartz, 9 to 14 lbs. of gray clay and 1 lb. of borax. 
Grind this mixture, and while grinding, add 5^ lbs. of 
clay and -J lb. of borax. Then make the compound into 
a paste with water, and lay a coating of it on the 
vessel and burn it in. Eor the glaze or surface coat, mix 
together the following ingredients: 

5J lbs. of fluorspar, 

2J lbs. of zinc oxide, 
10| lbs. of stannous oxide, 

1J lbs. of bone meal in fine powder, 

1 to 1| oz. of whiting. 
To this add : 

34 1 lbs. of fluorspar, 
20 to 214 lbs. of borax, 

7 lbs. of carbonate of soda, 

2\ to 3| lbs, of nitrate of potash. 
51 



52 DECOEATIOX OF METAL., WOOD, GLASS, ETC. 

Fuse the mixture in a refractory clay crucible with 
a hole in the bottom through which the liquid mass es- 
capes into a vessel placed beneath the furnace. The 
mass when cooled is pulverized and ground and 4 oz. 
of washed white clay and -J- lb. of zinc oxide is added 
during the process of grinding to every 6G lbs. of the 
mass. The compound is then applied to the vessel in 
the usual manner and burnt in. 



Tinning Cast Iron. 

No. 1. — Dissolve 1 oz. of chloride of tin in 10 oz. of 
water, separately dissolve 2 oz. of caustic soda in 1 pint 
of water and mix the two solutions. Heat the articles 
to be tinned and then dip them in the above fluid. The 
liquid should be frequently stirred and a few granules 
of tin kept in the bath. 

No. 2. — Boil 3 oz. of rice flour in 5 pints of water 
for thirty minutes, and strain. Then mix with the re- 
sulting thick fluid. 106 oz. of phosphate of soda, 17 oz. 
of crystallized stannous chloride, 67 oz. of solution of 
stannous chloride and 25 oz. of sulphuric acid. The 
articles should be cleaned, dipped in the above mix- 
ture and allowed to remain for a few minutes, then 
taken out and dried. 

]STo. 3. — Make a compound of 8 oz. of solution of stan- 
nous chloride, 16 oz. of tartar and 2 oz. of stannous 
chloride. Connect the articles by a wire with the posi- 
tive pole of a Bunsen's battery, while the magnetic pole 
communicates with a piece of tin that dips into the above 
mixture. 



DECORATING IRON, STEEL, ETC. 53 

Cold Tinning.* 

Remove all grease from the articles by washing them 
in boiling potash solution and then pickle in an acid 
bath composed of 20 parts of sulphuric acid per 100 
parts of water. Afterwards carefully scour the articles 
with sand and then dip them in the tinning solution, 
which is prepared by mixing 7 to 10^ oz. of tin salt, 10^ 
oz. of alum, 7 oz. of tartar, and 22 gallons of water. 
A strip of tin is wrapped around the different articles 
before dipping them in this bath, where they remain 
for 8 to 10 hours longer, according to the thickness of 
the coating they are to receive. The articles are re- 
moved from this bath, rinsed off and put into water in 
which \ to \ oz. of carbonate of magnesia per quart has 
been dissolved. 

Galvanizing Iron. 

First cleanse the article by washing in dilute acid, 
rinse off the acid and put into a solution of zinc chloride, 
and connect with the positive pole of a dynamo ma- 
chine. Zinc plates connected with the positive pole of 
a dynamo machine are suspended in the fluid and the 
machine set to work. The coating of zinc thus produced 

*Mr. John F. Brady of Providence, R. I., thinks this cleansing 
operation can hardly be improved upon. He also suggests the 
following formula as the best he has found for this class of work: 
Pyrophosphate of soda, 80 parts; caustic soda, 10 parts; pro- 
tochloride of tin, 10 parts, and distilled water, 5,000 parts. 
Dissolve the pyrophosphate of soda and caustic soda in the 
water and stir in the tin salt which has previously been dis- 
solved in water. This solution should be used with a large 
tin anode and a current of from four to six volts. 



54 DECORATION OF METAL, WOOD, GLASS, ETC. 

is provided with a metallic lustre by quickly warming 
the articles over a fire or placing them in a chamber 
or oven sufficiently hot to melt the zinc. If at the same 
instant that this takes place a shock or shake is given to 
the article, the coating will assume the spangled appear- 
ance so much sought after. 

Mixture for Galvanizing Copper, Bronze, Etc. 

Dissolve in 5 parts of soft water, 4 oz. of yellow prus- 
siate of potash, 2 oz. of subsulphide of copper and 2 
oz. of carbonate of potash. For bronzing add 25 oz. 
of sulphate of zinc to the above coppering fluid and 
filter the solution. The bath for bronzing wrought and 
cast iron consists of 1,000 oz. of soft water, 58 oz. of 
yellow prussiate of potash, 15 oz. of chloride of copper, 
40 oz. of tin salts and 40 oz. of sodium hyposulphite- 
Pour the above fluid into a cast-iron boiler, and heat 
over a moderate fire, the metal to be coated with copper, 
brass, or bronze, being connected with the cathode of the 
galvanic battery and submerged in the bath, using as 
an anode a piece of the metal that is to be deposited. 
The metal to be coated must be first thoroughly cleansed 
and polished. 

To Give Cast-iron and Steel Articles a Coating of Copper. 

Melt in a crucible 1 oz. of dry chloride of copper and 
5 or 6 of cryolite combined with chloride of barium to 
make it more fusible. This mixture will give a per- 
manent coating of any depired thickness to the article, 
according to the duration gf the immersion, 



DECORATING IRON, STEEL., ETC. 55 

To Tin or Copper Gray Iron Castings. 

Cleanse the castings by pickling in dilute sulphuric 
acid (1 to 20 of water) and scouring with water if 
necessary. Then boil them in concentrated aqueous 
solution of stannate of soda with a quantity of granu- 
lated tin. To copper castings : Clean the iron as above, 
and tumble for a few minutes in sawdust moistened 
with a solution of copper in 2 gallons of water made 
slightly acid with sulphuric acid. Wash immediately in 
hot water. 

To tin small castings: Clean and boil them with 
scraps of block tin in a solution of cream of tartar. 

To Tin Iron Cold. 
Take equal parts of quicksilver and block tin and 
melt them together. Mix also equal parts of muriatic 
acid and amalgam. Apply the amalgam with a clean 
rag steeped in the mixture. 

To Tin Tacks. 

A process of tinning iron tacks is to triturate chloride 
of zinc with a large quantity of oil and heat it in an 
oscillating vessel. As soon as this has reached the 
proper temperature, throw in the tacks and after a few 
minutes dip them out in wire basket and cast into 
water. 

To Give Tin a Crystalline Appearance (Moire Metallique). 

This process is much used for tinplate, trunks and 

fancy articles. It is usually prepared from well au- 



56 DECORATION OF METAL, WOOD, GLASS, ETC. 

nealed and well tinned charcoal iron plates by rinsing 
the plates with nitro-hydrochloric acid and then with 
water. The cleansed plates are then dipped for a few 
moments in aqua regia (1 part of nitric and 3 parts 
of hydrochloric acid) diluted with 1 to 3 volumes of 
water and heated to about 1S0° F. and after a short ex- 
posure rinsed in running water and dried in the air, 
then oiled or lacquered. 

The following is the most approved method of pro- 
ducing Moire JMetallique : The iron plate to be tinned 
is dipped into a tin bath composed of 200 parts of pure 
tin, 3 parts of copper and 1 part of arsenic. When 
thus tinned, the sheet iron is submitted to the seven fol- 
lowing operations: 

(a) Immersion in lye of caustic potash and washing. 

(b) Immersing in diluted aqua regia and washing. 

(c) Immersion in lye of caustic potash and washing. 

(d) Quickly passing through nitric acid and washing. 

(e) Immersion in a lye of caustic potash and wash- 
ing. 

(/) Immersion in aqua regia and washing. 

(g) Immersion in a lye of caustic potash and wash- 
ing. 

The coat of oxide must be entirely removed at each 
washing and the last washing should be in hot water. 

Process of Tin Plating. 

The Contact Process. — In tinning hollow ware on 
the inside, the metal is first thoroughly cleansed by 
pickling it in dilute sulphuric acid and scouring it with 
sand. It is then heated over a fire to about the melting 



DECOKATIISTG IRON, STEEL, ETC. 57 

point of tin, sprinkled with powdered resin and partly 
filled with pure grain tin covered with resin to prevent 
its oxidation. The vessel is then quickfy turned and 
rolled about in every direction so as to bring every 
part of the surface in contact with the molten metal. 
The greater part of the tin is then thrown out and 
the surface rubbed over with a brush to equalize the 
coating. The brush is made of tow. The vessels must 
be hot enough to keep the tin contained in them fused. 
The Amalgam Process. — This is not sq much em- 
ployed as it used to be. It is carried out by applying 
to the clean and dry metallic surface a film of a pasty 
amalgam of tin with mercury and then exposing the 
surface to heat which volatilizes the latter, leaving the 
tin adhering to the metal. 

The Immersion Process. — This is best adapted to 
coating articles of brass or copper. When immersed in 
a hot solution of tin properly prepared, the metal is 
precipitated upon the surfaces. One of the best solu- 
tions for this purpose is the following: 
17^ oz. of alum, 
12^ oz. of boiling water, 
1 oz. of protochloride of tin. 
The articles to be tinned are first thoroughly cleansed, 
then put into the hot solution until properly whitened. 

A better coating can be obtained by using the fol- 
lowing bath and placing the pieces in contact with a 
strip of clean zinc also immersed in it : 
14 oz. of nitrate of potassium, 
24 oz. of soft water, 
1 oz. of protochloride of tin. 



58 DECORATION OF METAL, WOOD, GLASS, ETC. 

It should be boiled for a few minutes before using. 

The following is one of the best solutions for plating 
with tin by the battery process: 

12 oz. of potassium pyrophosphate, 

44- oz. of protochloride of tin, 
20 oz. of water. 

The anode or feeding plate used in this bath con- 
sists of pure Banca tin. This plate is joined to the 
positive plate of the battery while the work is suspended 
from a wire connected with the negative (zinc) pole. 

In AYeiglers process a bath is prepared by passing 
washed chlorine into a concentrated solution of stan- 
nous chloride to saturation and expelling the excess of 
gas by warming the solution, which is then diluted with 
about 10 volumes of water and filtered if necessary. 
The articles to be plated are pickled in dilute sulphuric 
acid, and polished with fine sand and scratch-brushed, 
rinsed in water, loosely armed with zinc wire or tape 
and immersed in the bath for ten minutes at ordinary 
temperature. The coating is finished with the scratch- 
brush and whiting. By this process, cast or wrought 
iron, copper, steel and lead can be tinned without a 
separate batterv. The only disadvantage of the pro- 
cess is that the bath is soon clogged up with the zinc 
chloride, and the tin salt must be frequently renewed. 

In Hern's process a bath composed of 

2 oz. of tartaric acid, 
100 oz. of water, 

3 oz. of soda, 

3 oz. of protochloride of tin, 
is employed instead of the above, It requires a some- 



DECORATING IRON, STEEL, ETC. 59 

what longer exposure to properly tin articles in this 
than in Weigler's process. Either of these baths may be 
used with a separate battery. 



Tinning Iron Articles by Simple Immersion. 

A solution is first made by dissolving with the aid of 
heat in an enameled pan, 2^ grams of protochloride of 
tin (fused), 75 grams of ammonia alum, 5 litres of 
water. The chloride of tin is readily made by dis- 
solving grain tin in hydrochloric acid with the aid of 
heat, care being taken to have an excess of metal in 
the dissolving flask. When the bubbles of hydrochloric 
acid which have evolved, cease to be given off, the action 
is complete. If the solution be evaporated at a gentle 
heat until a pellicle forms on top and the vessel then 
set aside to cool, needle-like crystals are obtained, which 
may be separated from the mother liquor by tilting the 
evaporating dish over a second vessel of the same kind. 
When all the liquor has thoroughly drained, it should 
in its turn be again evaporated, when a fresh crop of 
crystals will be obtained. The crystals should, before 
washing, be gently dried over a sand bath. When the 
solution of tin and alum has been brought to a boil, the 
iron articles, after being well cleansed and rinsed in 
water are to be immersed in the liquid ; they quickly 
become coated with a delicately white film of a dead 
or matted appearance, which may be rendered bright 
by means of bran in a revolving cask or in a leathern 
bag shaken by two persons, each holding one end of the 
bag. To keep up the strength of the tinning bath, 



60 DECORATIOX of metal, wood, glass, etc. 

small quantities of the fused chloride of tin are added 
from time to time. 

To Re-Tin Copper. 

Xo. 1. — Make the copper chemically clean by wash- 
ing with a saturated solution of zinc in hydrochloric 
acid, the acid being diluted with water to half strength 
after dissolving the zinc. Heat the copper vessel and 
pour in a small quantity of metal, tin 1 part and lead 
1 part, and shake or tip the vessel until the tinning 
runs over the parts. Or wipe the melted tin over the 
bare parts with a cotton canvas pad. 

Xo. 2. — The best way to tin old copper utensils is 
to thoroughly clean them with sand and oxalic acid and 
tin with a large copper-soldering iron, using chloride 
of zinc and salammoniac soldering fluid for flowing the 
tin. It can also be done by heating the v< 
and flushing melted tin over the surface, first sprinkling 
it with powdered resin. 



ENAMELS AND GLAZES. 

Colored Enamels for Metals. 

The ingredients are powdered to an impalpable state 
in a stone mortar and then placed in a heated crucible. 
To secure the crucible in the furnace, a piece of brick 
is laid on the grate. The firing is done either with 
charcoal alone or with charcoal mixed with coke. 

To prepare the fluxes, a suitable furnace is used 
which must be free from rust and lined up to the cover 
with fire bricks set in clay so that only the opening for 
the door remains free. Through a hole in the centre 
of the cover, which is also provided with a cover, the in- 
gredients in the crucible are stirred with an iron rod. 

Preparation of Fluxes. 

ISTo. 1. — Fuse: 

8 parts of minium, 
1| parts of borax, 

2 parts of ground flint, 
6 parts of flint glass. 

!\ T o. 2.— Euse: 

10 parts of flint glass, 

1 part of white arsenic, 

1 part of nitrate of potash. 
~No. 3.— Fuse: 

1 part of minium, 

3 parts of flint glass. 

61 



62 DECORATION OF METAL, WOOD, GLASS, ETC. 

No. 4. — Fuse: 

10 parts of minium, 
5^- parts of borax, 
8i parts of flint glass. 

No. 5. — Fuse: 

C parts of flint glass, 

7 parts of the flux prepared according to No. 2, 
with 8 parts of minium. 

No. 6. — Fuse: 

6 parts of the flux prepared according to No. 4, 
and 2 parts of powdered flint. 

Fluxes prepared as above are cooled off in water, 
then dried, and finally reduced to powder in a stone 
mortar. 



Blue Enamel. 

No. 1. — Powder and mix: 

4 parts of black oxide of cobalt, 
9 parts of flint, 
13 parts of nitrate of potash. 

Fuse these thoroughly over a charcoal or coke fire. 
Pulverize them, wash in cold water and triturate 1 part 
of this powder with 1 part of flux No. 5. 

No. 2. — Fuse together: 

1 part of black oxide of cobalt, 
1 part of borax. 

Mix these by melting over a good fire 2 parts of this 
to 10 parts of blue pot glass and -| part of minium. 



ENAMELS AND GLAZES. 63 

Black Enamel. 

No. 1. — Triturate with water: 

1 part of black calcined umber, 
1-| parts of black oxide of cobalt, 
1^ parts of black oxide of copper, 
3 parts of flux No. 4. 
Allow it to dry thoroughly, and then heat it in a fire 
upon a brick with pulverized flint, and add 1 part of 
flux No. 3. 

No. 2. — Mix and triturate with sufficient water, 1 
part of black oxide of copper and 2 parts of flux No. 4. 
No. 3. — Black enamel for painting and mixing with 
other colors to produce shades. — Heat small pieces of 
umber in a crucible until they becomme black, and then 
wash in boiling water and dry. Fuse together 10 parts 
of this prepared umber, 10 parts of black oxide of cobalt, 
10£ parts of blue flint glass, 7-J parts of borax and 12 
parts of minium. For use, triturate 2 parts of this 
mixture with 1 part of flux No. 4. 

Brown Enamel. 

Fuse together 2|- parts of pyrosulphite (black oxide 
of manganese), 8-| oz. of minium and 4 oz. of pulverized 
flint. Take 1\ parts of the mixture and triturate it 
with 1 part of the flux No. 4 and 1| oz. of iron filings. 

Reddish Brown Enamel. 

Triturate in water 1 part of brown sulphate of iron 
and 3 oz. of flux No. 1. 






G4 DECORATION OF METAL, WOOD, GLASS, ETC. 

Vandyke Brown Enamel. 
Fuse together in a crucible 3 parts of flux ISTo. 4 and 
1 part of iron filings. Lift it out by the tongs. Take 
5 parts of this and 1 of black oxide of cobalt and make 
into a paste with water. 

Green Enamel. 
Mix and heat without fusing 12 parts of minium, 1 
part of sulphate of iron, 4 parts of antimony oxide and 
3 parts of pulverized flint. Triturate with water and 
1 part of iron and 2-J parts of flux No. 7. 

Yellow Enamel. 
Mix in a stone mortar 8 parts of minium, 1 part of 
antimony oxide and 1 part of white oxide of tin. Put 
the mixture in a crucible and raise it to a red heat. 
Then cqpl off and rub 1 part of this and 4J parts of 
flux No. 4 to a paste with water. 

Orange Enamel. 
Mix and heat without fusing 12 parts of minium, 1 
part of red sulphate of iron, 4 parts of antimony oxide 
and 3 parts of pulverized flint. Triturate with water 1 
part of this to 1| parts of flux ISTo. 7. 

• To Enamel Cast Iron. 
No. 1. — Reduce to powder and mix : 
3J oz. of crystal glass, 
1 oz. of purified potash, 
1 oz. of nitrate of potash, 

\ oz. of borax, 
3-J oz. of minium (red lead). 




ENAMELS AND GLAZES. 00 

Heat the ingredients in a clean, covered crucible, 
whereby a shiny appearance will at first take place and 
the mass will finally fuse to clear liquid glass. This is 
poured upon an iron plate, previously moistened, cooled 
off with water and rubbed to a thin paste upon a glass 
plate. Pour this paste on the article to be enameled, 
allow it to dry very slowly and then put the article in a 
hot muffle furnace. The enamel will in a few minutes 
fuse uniformly without bubbles and form a lustrous, 
transparent surface. To impart a blue tint to the 
enamel, mix with the above 1^ drachms of a precipitate 
of cobalt, obtained by saturating nitric acid with cobalt, 
decomposing this with common salt and evaporating the 
mixture to drvness. This rives the blue color to the 
enamel. 

Xo. 2. — Keep the article to a red heat in sand for -J 
hour, cool off slowly and cleanse with hot diluted sul- 
phuric acid. Rinse with water and dry. Coat the 
material with a mixture composed of: 

6 oz. of flint glass, 

3 oz. of borax, 

1 oz. of minium, 

1 oz. of zinc oxide. 

Reduce all to fine powder and roast it for 4 hours at 
a red heat. Increase the temperature until the mixture 
becomes semifluid, then cool by pouring into cold water 
and mix 1 pint of it with 2 parts of bone meal and make 
into a paste with water. When the coating on the 
article is dry, apply a mixture of: 



66 DECORATION OF METAL, WOOD, GLASS, ETC. 

32 oz. of calcined bones, 
16 oz. of kaolin, 
14 oz. of feldspar, 
4 oz. of potash. 
Mix with water, dry, cool, and when powdered, 
make into a paste with sufficient water. When the sec- 
ond coat is dry, apply a mixture of: 
4 oz. of feldspar, 
4 oz. of pure sand, 
4 oz. of potash, 
6 oz. of borax, 
1 oz. of oxide of zinc, 
1 oz. of nitrate of potash, 
1 oz. of white arsenic, 
1 oz. of pure chalk. 
Mix, calcine, cool off and then reduce to a fine pow- 
der with 3i parts of calcined bones and 3 oz. of quartz. 
The coated articles are heated in a muffle in a furnace, 
which fuses the last two coatings and forms an adher- 
ent and brilliant white enamel. 



Glaze for Enamelling Cast Iron. 

Mix together: 

4 parts of powdered glass, 
2 parts of fluorspar, 
1 part of nitrate of potash, 
1 part of zinc oxide. 
Fuse them in a crucible and pour out into molds to 
cool. For use, the necessary quantity is rubbed up with 
water. Heat the iron article to a red heat in a muffle 



ENAMELS AND GLAZES. 67 

furnace, and apply the enamel, which will present a 
brilliant glaze appearance. To render the enamel of a 
blue color, add cobalt oxide. For red, use minium ; for 
black, nigrosine; for yellow, use uranium oxide; for 
brown, ferric oxide ; for green, a mixture of 2 parts of 
stannous oxide and 1 of manganese oxide; for pure 
white, use stannous oxide. 



Enamel for Sheet-Iron Articles. 

Cleanse the vessel by pickling in diluted sulphuric 
acid, rinse off with water and scour with good sand. 
Then apply a solution of gum arabic in water, dust 
upon the article while still mpist the above powder, and 
dry at 212° F. When the vessel is dry, remove the ex- 
cess of powder gently with the hand and observe whether 
there are any places which have not been dusted. Should 
this be the case, they must be again dusted in the same 
manner. The enamel is prepared as follows : 

65 oz. of crystal glass, 
10 oz. of calcined soda, 

6 oz. of boracic acid. 
Grind and mix together several times. This powder, 
after being liquefied on the sheet iron and placed in a 
red-hot muffle, forms the ground for the actual enamel, 
which is not quite so refractory. This consists of: 

66 oz. of crystal glass, 
10 oz. of calcined sand, 

2 oz. of boracic acid, 
4 oz, of litharge. 



68 DECORATION OF .METAL, WOOD, GLASS, ETC. 

To Enamel Copper Cooking Vessels. 
Reduce to powder and mix : 
12 pz. of white fluorspar, 
12 oz. of unburned gypsum, 

1 oz. of borax. 

Fuse the mixture in a crucible. Apply a coating of 
this with a brush to the inside of the vessel and place 
ihis in a moderately warm place so that the paste will 
dry uniformly. When dry, heat the vessel to such a 
degree in a muffle that the paste which has been laid on 
liquefies. When cold, the paste will be a white opaque 
enamel. 

Renovating Metals by Niello. 

This metallic enamel is composed of: 
4 parts of pure silver, 
9 parts of pure copper, 
9 parts of pure lead, 

2 parts of borax, 

48 parts of flowers of sulphur. 
The method of incorporating these ingredients is to 
first melt the silver in a crucible, then add the copper, 
and when both are liquid, add the lead and stir the 
molten alloys with a stick of charcoal to ensure homo- 
geneity. Pour the mixture into a large crucible con- 
taining the sulphur and keep the crucible on the fire 
until the mass is a liquid. Then pour it out into water 
so as to granulate the alloy. The best way to ensure 
granulation is to put a bundle of brushwood in the 
water and pour the alloy over it so that the alloy is dis- 
persed and granules formed. These granules are col- 



ENAMELS AND GLAZES. . 69 

lected, dried by exposure to the air and then pulverized 
in a mortar. This powder is mixed with spirits of sal- 
ammoniac to a paste. For use, the metal to be deco- 
rated is etched or engraved with the design to be rep- 
resented, and the metal article heated; then the paste 
alloy is rubbed into the etched lines. When the metal 
has cooled, the excess of melted paste is removed by 
filing. The surface is then stoved and polished. 

Black Enamel for Bicycles. 
Melt 40 oz. of asphaltum in an iron vessel by slow 
heat, then add J gallon of boiled linseed oil, 6 oz. of lith- 
arge, 4 oz. of powdered sulphate of zinc and 6 oz. of red 
lead. Boil all together for two hours, then stir in 8 oz. 
of fused dark amber gum and 1 pint of hot linseed oil. 
Boil for two more hours. When the mass has thickened, 
remove it from the fire and thin down with 1 gallon of 
turpentine. 



GLASS SIGNS, ETC. 

Engraving on Glass. 

Grind the surface of the glass until it is opaque, and 
draw the design upon it with a mixture of anhydrous 
boracic acid, guru and water. When the drawing is 
dry, heat the glass sufficiently to melt the boracic acid. 
The acid gives the gum its original transparency and the 
design is fixed. Colored designs are produced by add- 
ing different metallic oxides to the boracic acid. 

Colored Designs Upon Glass. 
Coat the glass with shellac varnish or oil of turpen- 
tine. Cover with the pattern and dust the pulverized 
color over the cut-out places in the pattern. When dry, 
place the glass in a closed muffle to burn in the color. 

Engraving Glass With Acids. 
Coat the glass with wax and engrave the design so 
that it shows through. Pour 2 parts of sulphuric acid 
over 1 pint of pulverized fluorspar in a leaden vessel and 
place it on the prepared glass, drawing-side downwards. 
The design will be etched upon the glass in about an 
hour or two. The mixture is removed with oil of 
turpentine. The hydrofluoric acid that is produced by 
the mixture of the acid and fluorspar cannot be kept in 
vessels except they be of lead or guttapercha, as the acid 

70 



GLASS SIGNS, ETC. 71 

is very corrosive and should not be allowed to touch the 
flesh, nor should the vapor that arises be inhaled. A 
simpler process is to apply an aqueous solution of hydro- 
fluoric acid to the design with a soft brush. By repeat- 
ing the operation several times the design or pattern 
will be found engraved on the glass. But the etching 
done with this aqueous solution is much inferior in 
sharpness and opacity to that done by the vapor. 

No. 1.— To Etch Glass (Fine-Ground). 

Paint the entire glass except the parts to be etched 
with ordinary iron lacquer which covers well. Allow 
it to dry, but not entirely hard, as otherwise the acid 
is apt to find its way under the iron lacquer. Place a 
layer of putty, prepared with wax and starch, around 
the design, care being taken that it laps over upon the 
iron lacquer. Then pass hydrofluoric acid upon the 
surf ace, let it stand for 5 minutes, pour it back into the 
flask and wash the entire surface w T ith water. Then 
remove the asphaltum with oil of turpentine and again 
wash the article with soap and water. 

Mo. 2.— To Etch Glass (Coarse-Ground). 

Proceed in the same manner as above, but throw 
some emery into the acid immediately after it has been 
poured upon the surface. Let it remain for 5 minutes ; 
then put it back into the flask and wash and cleanse as 
above. 

To Gild Glass. 

Polish the glass thoroughly with whiting and then 
with a linen rag dipped in alcohol. Prepare a size by 



72 DECORATION OF METAL, WOOD, GLASS, ETC. 

boiling 2 oz. of isinglass in sufficient water to cover it, 
and when dissolved add 1 quart of alcohol. Then dilute 
in 2 parts with water and filter. Flood the surface to 
be gilded with the size, laying the gold leaf flat on it, 
and scatter electricated chalk, previously washed, over 
the whole. Should the chalk form lumps in handling, 
rub it fine; but the dusting over with chalk must be de- 
layed until the gold leaf is dry. When the gold leaf is 
entirely dry, dust it off with a fine brush and then 
polish with a piece of silk. Eepeat the gilding once 
more and then back all the gold which is to remain with 
copal or dammar varnish. When this is dry, remove 
the superfluous gold by rubbing with the moistened 
fingers. 

Silvering Glass. 

This is done in the same manner as gilding (above 
described), but somewhat more isinglass is used, as the 
silver leaf, being softer than gold leaf, requires a 
stronger agglutinant. 

Gilding on Show-Windows. 

The same solution of isinglass as used for gilding glass 
is employed. Cover the surface to be gilded with the 
mixture and lay on the gold leaf. When dry, polish the 
gold with a rag of silk velvet and repeat the operation. 
If, after the second polishing, stains should make their 
appearance on the gold, the solution contains too much 
isinglass and must be diluted by adding distilled water 
and rectified alcohol. But if the gold cannot be polished, 
the mixture contains too little isinglass. It is therefore 
advisable to first test the solution upon a sheet of glass. 



GLASS SIGJ^S, ETC. 73 

To Back the Inscription on Show-Windows. 

Proceed as follows: After rubbing off the superflu- 
ous gold with the finger, apply to the entire superscrip- 
tion a coat of gold oil paint mixed with some hemp oil 
and English carriage varnish, which will preserve the 
inscription even upon panes covered with moisture. 

To Back Glass Signs with Tin Foil. 

This is done in the same manner as mother-o'-pearl, 
except that the oil paint is not allowed to dry entirely 
but to remain sticky — tacky — enough to fasten the tin- 
foil by a gentle pressure, care being taken to place the 
glossy side of the tinfoil upon the glass. 

Transparent Glass Designs. 

Coat a glass with paint so that the places to be trans- 
parent remain free. Back this glass plate with a sec- 
ond, and fill the space with pieces of colored glass of 
irregular sizes. By illuminating the sign from the back 
a pretty effect is obtained. Instead of colored glass, 
sheets of colored tinfoil, slightly crumpled up, can bo 
placed between the sheets of glass to represent the in- 
scription. 

To Back Glass Signs Without Shades. 

After carefully rubbing off the superfluous gold with 
the fingers, apply two coats of transparent black rubbed 
up in oil to the entire back of (he glass and inscription. 



«-i DECORATION OF METAL, WOOD, G ETC. 

To Back Glass Signs with Shades. 

Apply two coats of the same black, bur leave the shades 

free. When the black is dry, paint the places to repre- 
sent the shade with red, green, blue, etc., oil paint. 

Decorating Glass Show-Cases With Mother-o'-Pearl 
Inscriptions. 

Gild in the manner described above. When the gold 
is dry, coat only the outline of the inscription with 
copal or dammar lacquer. After carefully removing the 
superfluous gold, apply two coats of the above-mentioned 
black oil paint, leaving free the inner part of the in- 
scription for the mother-o'-pearl. If the inscription is 
to be shaded, proceed in the same manner as described 
for backing glass signs with shades. To insert mother- 
o'-pearl inscriptions, use very thin lamime of the pearl 
of different colors. Select suitable pieces, and if too 
large, break them in two : then coat first the places left 
free in the inscription with dammar lacquer, and then 
one side of each of the pieces of mother-o'-pearl. Lay 
them on the inscription and press down gently with the 
handle of the brush, continuing this until the entire sur- 
face is covered. Do not place the pieces close together, 
but leave small spaces between them, which are after- 
wards filled up with lacquer and pulverized oyster shells 
or other shells dusted on. 

Etching Fluid for Glass. 

Put into a wedgeware mortar equal parts of hydro- 
fluoric acid, fluoride of ammonium and dry precipitated 
barium sulphate and rub them up together. When in- 



GLASS SIGHS, ETC. 75 

timately mixed, transfer the mass to a dish, made of 
platinum, lead or guttapercha, and pour fuming sul- 
phuric acid over it successively and rapidly, stirring 
with a guttapercha rod shaped like a pestle until the 
impression left by the rod quickly disappears. The 
resulting fluid can be applied with an ordinary steel 
pen and the glass written on is etched immediately, 
the etched portions being so well roughened that they 
are visible at a distance. The fluid only needs to act for 
15 seconds on the glass, as a longer action may cause the 
edges to lose their sharpness. 

The etching fluid cannot be kept in glass bottles but 
only in guttapercha vessels closed with corks that are 
protected with wax or paraffin. Owing to its greater 
specific gravity, the barium compound used to thicken 
it settles, hence the bottle must be well shaken each time 
before using. To make a good quality of etching fluid, 
the quality of the barium sulphate is of great conse- 
quence. It is best prepared by precipitating barium 
chloride with an excess of sulphuric acid, washing well 
by decantation, filtering and drying at 248° F. It is 
only in this manner that it can be obtained sufficiently 
fine and impalpable. Concentrated hydrofluoric acid 
may cause serious ulcers or inflammation of the skin 
if it comes in contact therewith for some time, so that 
care should be taken in making and using the fluid not to 
touch it with the fingers. 

To make ordinary etchings more distinct and visible 
at a greater distance, it is frequently necessary with 
delicate lines, especially on graduated chemical ware, 
burettes, eudiometers, etc., to rub some clay, red lead 



76 DECORATION OF METAL, WOOD, GLASS, ETC. 

or soot over them. A small quantity adheres to the 
roughened surface, bat it soon conies off. The etchings 
made with this fluid are so rough that if a strip of metal 
is rubbed over the lines some will adhere and acquire 
the color and lustre of the metal. If a name is written 
on glass with the fluid and the spot rubbed with a thick 
brass wire, the name will appear in golden letters and 
may be protected with a thin coat of varnish. Lead may 
also be used, but for chemical apparatus, platinum is 
preferred, as it easily rubs into the lines and requires 
no protective coating. 

Ornamenting Frosted Glass. 

A method of ornamenting frosted glass for those who 
cannot draw is to choose some pretty pattern of lace, 
say from a window-curtain. Lay it smoothly on thin 
paper and with a pencil trace the outlines. Then, after 
making as many layers as you require patterns, cut out 
the designs at one operation through the several layers 
of paper with a pair of sharp-pointed scissors. Fasten 
the patterns with tacks to the frame around each piece 
of frosted glass you wish to decorate. Tie up a piece 
of putty in a piece of thin muslin, leaving enough of 
the latter to hold as a handle. With this dabble all over 
that part of the glass which the pattern leaves bare. 
When the putty on the glass has dried, remove the 
paper and varnish the glass, using a colored varnish if 
desired. 

To Decorate Glass With Photographs. 

Separate the paper print from the background by 
steaming it, dry thoroughly, and having given the 



OLASS SIGNS, ETC. 77 

warmed glass an even coating of balsam or negative var- 
nish, place the face of the print on the surface thus 
prepared. Smooth it out and let it stand in a cool 
place until the varnish has hardened. Then apply 
water, and with a piece of soft india-rubber rub off the 
paper so as to leave the photographic image on the var- 
nished glass. 

Platinizing Glass. 

In order to succeed in coating porcelain or glass with 
a faultless film of platinum of the brilliancy of silver it 
is indispensable to make use of a perfectly dry chloride 
of platinum, as free from acid as possible. For that 
purpose pour some oil of rosemary over the dry chloride 
of platinum in a small porcelain mortar and knead it 
up with the pestle, renewing the oil about three times. 
Continue this operation until there is produced from the 
brownish-red chloride a black plastic mass, wherein no 
particles of undecoinposed chloride of platinum can be 
found. The oil of rosemary assumes thereby a more or 
less yellow color in consequence of partially taking up 
chlorine from the chloride of platinum. 

When the whole of the chloride of platinum is thus 
reduced, and after pouring the oil of rosemary off, rub 
it up well with the pestle with about five times its 
weight of oil of lavender, until it has become a perfectly 
homogeneous thin fluid. Then, after leaving it to stand 
for half an hour or so, apply the mass as uniformly as 
may be and in the thinnest possible layer to the object 
of porcelain, earthenware or glass by means of a soft 
and delicate brush. The thinner the coat of the applica- 
tion, the more brilliant the film of platinum. All that 



7- DBCOfcATlON OF METAL. WOOI -. ETC. 

is required further is to subject the article for a : 
minutes to a very low, scarcely perceptible, red heat, 
either in a muffle or in the flame of a Bun- n's g a 
pipe used with caution. The article receives from this 

ing a beautiful lustre as brilliant as silver. If 
an oversight the coating of platinum upon the article 
has turned out faulty, or if breakages occur during 
the baking, every trace of the metal can be recovered 
from the objects 2 more is required than to pour 

common h; ver them and then touch 

them with a zinc rod. In consequence of the hydrogen 
evolved, both at the upper and lower surfaces of the 
film of platinum which acta as the negative pole, the 
shining metallic coating instantly peels off in the form 
of extremely thin leaves from the bas le porcelain 

glass, and n i ths tanding the specific gravity of the 
metal, these ascend partially and float on the surface of 
the acid. On - orating the hy :ic acid by the 

use of a filter, the whole of the platinum is red. 

Only as much of the platinizing fluid ah a] be pre 
pared at once as is required for immediate use, as it 
loses its efficiency by keeping. 



GILDING AND SILVERING. 



Gilding on Wood. 

Gilding on wood, called "oil gold/' cannot be bur- 
nished and is always of the natural color of unwrought 
gold. It has the advantage that it can be washed and 
cleansed with water, which burnished gold will not 
stand. It is often used for parts of furniture and mould- 
ings of rooms, and as it stands the weather, it is also 
employed for outside work. 

The modus operandi is as follows : The surface to be 
gilded must first be rubbed smooth with shave grass. 
After this, apply a priming of glue size and two coats of 
oil paint and one of flatting. To enrich the color of the 
gold these last may be laid down in red or yellow. 
White, however, is usually preferred, as the darker color 
renders any imperfection in the gold sizing more diffi- 
cult to detect. When the last coat of paint is thoroughly 
dry, rub it over with wash-leather to render it smooth 
and free from dust and grit. If any patterns are to be 
left ungilded, they should be pounced over with white to 
prevent the gold leaf adhering to them. Another way 
is to paint them over with white of egg diluted with 
water. If any gold sticks to this it can be easily washed 
or wiped off with a moistened linen cloth. When all is 

79 



BO ;i:tai.. wood. GLASS, t.tc. 

ready for sizing in Bufficienl Bize through muslin 

and put some our palette, adding to it cno 

v vermillion mixed with oil aloi lor. Th 

with a stiff hogVhair tool, commence painting ir on the 
surface, taking care to lay it on smoothly and not too 
thick, as in the latter case it runs and leaves wrinkles 
in the gilding. Size always from left to right, begin- 
ning on the top of the surface and working downwards. 
Move the brush lightly and firmly, mapping out the sur- 
face to be sized into several squares, and finishing and 

—hatching each before proceeding onwards. If there 
are patterns to be left nngilded, carefully trace around 
their outline with a sable pencil and then fill in the 
interstices. When the whole surface is covered with size 
give it a thorough inspection to make sure there is no 
faulty portion, but if there is. delicately touch in the 
size with a small pencil. When perfect gilding is re- 
quired, it should be sized twice, the first coat being al- 

r ed to dry before the second is applied. Tn car 

rk, be careful to dip the brush down into the holl 
of the carving. It is a good plan to size ov< 

to gild in the morning. But all size 
alike, sometimes taking 12 or 24 hours before it is ready 
for the gold leaf in damp weather, or in humid loca- 
tion- always more than in dry. The readiness of the 
size can only be a-certained by the touch. If on beinu 1 
touched by the finger the surface daubs or comes off, 
it is not ready: but if it feels clammy and sticky it is 
sufficiently dry. If too dry, it must be sized again. 
Th- of gold leaf should always be placed befor 

tire half an hour previous to use in ordt*r to dry the 



GILDING AND SILVERING. 81 

gold and make it more manageable. When all is ready, 
shake out several leaves on the cushion and blow them 
towards the parchment screen. Then carefully raise one 
leaf with the knife and place it on the cushion, gently 
blowing or rather breathing on it to flatten it out. If 
it curls up, work it about with the knife until it lies 
flat. Then replace the knife in its loop under the 
cushion, and taking the tip, pass it lightly over your 
hair or whiskers, thus acquiring sufficient greasiness, 
or electricity ( ?), to enable the gold to stick to it. Lay 
the hair portion of the tip carefully upon the gold leaf 
and then raising it apply to the sized surface. As in 
sizing, work from left to right and be especially careful 
to let each leaf overlap slightly so as to avoid gaps and 
spaces. Lay on whole leaves as far as space permits and 
then proceed to gild the curves and corners which need 
smaller pieces. Place a leaf flat and smooth on the 
cushion and then taking the knife in the right hand 
draw the edge easily and evenly along it with a gentle 
pressure. Divide the leaf into as many pieces as re- 
quired and lay on as before. When all the ground is 
complete, inspect it carefully to make sure there are no 
portions left ungilt, however small, and mend at once. 
JSext, with a piece of cotton-wool, gently dab or press 
the gold down all over, finally brushing off the super- 
fluous gold either with cotton-wool or a camel's-hair 
brush. It is a good plan to stipple the gold with a 
large stiff hog's-hair brush, quite dry and clean, as this 
gradually softens and removes the marks of joining and 
other imperfections. Finally smooth the gold with a 
clean piece of wash-leather, and it is completed. 



t- 



S2 DECORATION OF METAL, WOOD, GLASS, ETC. 

Gilding with Japanner's Size. 

With regard to gilding with japanner's size, the same 
directions apply, except as to the time necessary to wait 
between sizing and gilding. If japanner's size is used 
pure, it will be ready in from 20 to 30 minutes, but bet- 
ter gilding can be made by mixing one-third oil size with 
two-thirds of japanner's size. This will be ready in 
about 2 to 4 hours from the time of putting on. When 
all the gilding is finished, dilute 1 part of very clean 
and pure parchment size with 2 parts of water and 
brush it over the entire surface of the gold to enrich and 
preserve it. If it is necessary to gild in a position much 
exposed to the touch or to wear, as in the base of a pillar 
or string course, it is as well to give the gold a coat of 
mastic varnish thinned with turpentine. 

There are various processes which tend to enrich and 
vary the effect of gilding. Glazings of transparent 
colors are sometimes applied for the purpose of deaden- 
ing the lustre. Eaw sienna passed thinly over a sheet 
of gold gives it a leathery appearance. A good effect 
may be produced by stencilling a small pattern in umber, 
sienna or Indian red over gold, especially if there is 
foliage or arabesque work upon the gilding, as a small 
design affords an agreeable relief. This is the easiest 
mode of gilding; any other metallic leaf can be applied 
in the same manner. 

Gilding and Silvering Leather. 
Soak thoroughly tanned leather, free from all fatty 
substances, in a medium strong bath of caustic soda for 



GILDING AND SILVERING. 83 

a time varying according to its thickness. When taken 
out, dry and saturate it with a solution of isinglass and 
alum. After drying in the air, it is coated twice, ac- 
cording to its quality, with a mixture of 2 lbs. of collo- 
dion and 1 drachm of castor oil. It is again dried and 
then treated with a weak solution of caoutchouc in ben- 
zine, after which the gilding varnish prepared from old 
linseed oil varnish boiled with litharge and Venice tur- 
pentine, is applied. When so far dry that it is only 
slightly sticky, the gold or other leaf is laid on, brushed 
over, and, finally, to protect the gilding, coated with a 
solution of mastic in alcohol. 

Silvering Glass Without Heat. 

There are many ways of silvering glass, among which 
is the following, selected for its simplicity: A shallow 
pan or dish, only slightly larger than the plate of glass 
itself, is required for holding the silvering solution. It 
should be perfectly level on the bottom and at least half 
an inch deep. First make a reducing solution (a) by 
first dissolving and then boiling 12 grains of Rochelle 
salts in 12 oz. of distilled water. While this is boiling 
add 16 grains of nitrate of silver, dissolved in 1 oz. of 
water, and boil ten minutes longer. Then remove from 
the source of heat and add enough cold water to make 
12 oz. in all. 

Next make a silvering solution (b) by dissolving 1 oz. 
of nitrate of silver in 10 oz. of distilled water ; slowly 
add liquid ammonia until the brown precipitate is near- 
ly but not quite all dissolved. Then add 1 oz. of 95% 
alcohol and sufficient water to make 12 oz. in all. Take 



84 DECORATION OF METAL, WOOD, GLASS, ETC. 

equal parts by weight of solutions a and h, mix them 
thoroughly, cover the bottom of the silvering dish with 
the fluid and lay the glass (which has been previously 
cleaned with soda solution and rinsed with clear water) 
while still wet ; face down in the mixture. Let it re- 
main in the dish or pan for about 20 minutes or there- 
abouts, rocking it gently near an open window; then 
take out the glass and stand it on edge to drain. The 
solutions should stand a few days before being used, so 
as to allow them to settle, and only distilled water 
should be used in making them. One drachm of each 
solution will be required for each square inch of sur- 
face. 

Draper's Method of Silvering Glass Without Heat. 

Dissolve separately 500 grains of Eochelle salts in 
3 oz. of distilled water and 800 grains of nitrate of 
silver, also in 3 oz. of water. Add of the silver solution 
to 1 oz. of strong liquid ammonia until brown oxide of 
silver remains undissolved. Then add, alternately, am- 
monia and silver solution carefully until the nitrate of 
silver is exhausted, when only a very little of the brown 
precipitate should remain; then filter. Just before 
using add the Rochelle salts solution and dilute the mix- 
ture with distilled water to make 22 oz. in all. Clean 
the glass or mirror with nitric acid or plain collodion 
and tissue paper. Coat a tin pan of suitable size with 
beeswax and rosin, equal parts melted together. Fasten 
a stick, one-eighth of an inch in thickness, across the 
bottom of the pan and pour in the solution. Put the 
glass in quickly, face downwards, one edge first; carry 



GILDING AND SILVERING. 85 

the pan to the open window and rock the glass slowly 
for half an hour. Bright objects should now be scarcely 
visible through the film. Remove the glass and set on 
its edge on blotting paper to dry, and when thoroughly 
dry, lay it face up on a table free from dust. Stuff a 
piece of soft buckskin with cotton-wool loosely and go 
over the whole surface with this rubber in circular 
strokes. Put some fine rouge on a piece of buckskin 
and impregnate the rubber with it, polishing the silver 
in small circles, going gradually over the whole surface. 
After one hour of continual rubbing, the surface will 
be polished perfectly opaque, and, with care, free from 
scratches. It is best before silvering to heat the solu- 
tion and the glass in water to 100° F. 



Processes for Coating Metals With Silver. 

~No. 1. — Dissolve 3| oz. of silver in 7 oz. of nitric 
acid in a well-closed vessel. Separately dissolve 2 lbs. 
of cyanide of potassium in 2f lbs. of water. Filter and 
mix the two solutions, then add 6f oz. of whiting and 
put the fluid in green bottles. To silver the article, mix 1 
part of the fluid with 3 parts of water and steep the arti- 
cle in the liquid until a sufficiently thick deposit of 
silver is attached. Polish with chalk. 

No. 2. — First cleanse the surface of the article to be 
silvered, and then wash it with a solution of nitrate of 
silver so that a thin film is formed. When dry, expose 
the article to a current of sulphuretted hydrogen gas. 
The coating thus produced is very conductive and a de- 
posit of silver adheres very firmly to it when the article 
is put into the electroplating bath. 



86 DECORATIOX OF METAL, WOOD, GLASS, ETC. 



Silvering Fluid. 
First make a mixture of 2 oz. of quicklime, 5 oz. of 
grape-sugar (glucose), 2 oz. of tartaric acid and 650 
oz. of water. Second, dissolve 20 oz. of nitrate of silver 
in 20 oz. of liquid ammonia and add 650 oz. of water. 
When about to he used, mix the two fluids together, 
shake well and filter, then steep the article in the fluid 
until a deposit of silver is evident. Metal, bone, ivory, 
wood and textile tissues may be silvered by this means. 

Silvering Copper Articles. 
Make an amalgam by rubbing up in a porcelain mor- 
tar, 1 oz. of the finest tin filings with 2 oz. of mercury 
until a semi-solid compound is produced. Then add 
1 oz. of silver (precipitated from nitric acid solution 
by means of metallic zinc, and thoroughly washed). 
AVhen the mixture has become homogeneous by rubbing 
together, mix it thoroughly with about 8 oz. of bone 
dust. The silvering process is carried out by rubbing 
the amalgam on the article by means of a moist cloth 
dipped in the amalgam. A coating of silver is at once 
deposited which is fairly durable. Finally polish 
the article by rubbing with a dry cloth. If many and 
large pieces are to be silvered, it is better to amalgamate 
the surfaces first by an instantaneous dip into a 
saturated solution of mercury in nitric acid. This pro- 
cess is technically called "quicking." 

Process of Silvering Mirrors for Telescopes. 

Take a mold of a convex shape, made of a mixture 
which is either an electrical conductor itself or else a 



GILDING- AND SILVERING. 87 

conductor metallized by the aid of nitrate of silver and 
phosphorus dissolved in sulphide of carbon. In either 
case, the mold is plunged in an electroplating bath of 
silver, when the current, conducted very slowly to the 
mold, produces a deposit of excellent quality. When the 
silver deposit has become as thick as an ordinary sheet 
of paper, the bath is replaced by one of copper to obtain 
a solid backing. The mold is then dissolved or melted 
and the mirror removed, when it only needs to be pol- 
ished to fit it for use. 

To Coat Bessemer Steel With Silver. 

The article is first cleaned of all grease by washing in 
hot lye, rubbed with diluted hydrochloric acid, and 
scoured with sand. Solution of mercury in nitric acid 
is dropped into water slightly acidulated with hydro- 
chloric acid, until the fluid becomes covered with a white 
coating. But as iron does not amalgamate like other 
metals by dipping it simply into the fluid, it is connected 
with the zinc pole of a Bunsen cell and submerged in 
the solution of mercury. The Bessemer steel will then 
acquire a coating of mercury ; it is taken out, thorough- 
ly washed, and silvered in the usual silver bath. The 
articles are taken from the silver bath, thoroughly 
washed, and heated upon a coal fire until they hiss when 
touched with the finger. They are then allowed to cool 
off, scratch-brushed, and, if necessary, polished. 

Silvering Process for Iron and Steel. 
Make an alloy of 80 parts of tin, 18 parts of lead 
and 2 parts of silver, or else 90 parts of tin, 9 parts of 
lead and 1 part of silver. First melt the tin and when 



88 DECORATION OF METAL, WOOD, GLASS, ETC. 

the bath has acquired a white lustre, add the granular 
lead and stir the mixture with a stick of pine. The 
melted silver is then added and the compound well 
stirred. The heat of the fire is now raised until the 
surface of the bath assumes a light yellow color, when 
it is vigorously stirred and the alloy poured out into 
molds. The process of silvering steel is carried out 
in the following manner : 

The article is dipped in a dilute solution of sulphuric 
or hydrochloric acid, consisting of 1 to 10 parts of acid 
to 100 parts of soft water. After removal from this 
acid bath it is at once rinsed off in clean water, then 
dried and rubbed with a piece of soft leather or a dry 
sponge. It is then placed in a muffle and exposed for 
five minutes to a temperature of 150 to 175° F., the 
object of this operation being to prepare the steel for 
the reception of the alloy, making it, so to speak, porous. 
The article, while still retaining a heat of 120 to 110° 
F., is dipped in the above-mentioned alloy, which has 
been melted in a crucible of graphite or refractory clay 
over a moderate fire, the bath must be entirely liquid 
and stirred with a stick of pine or poplar wood. The 
surface of the bath should have a beautiful white silver 
color, two to five minutes being usually sufficient for im- 
mersion. After the article has been taken from the bath, 
it is dipped in cold water or otherwise treated as may be 
nece-sary for handling it, if required, but it must not 
be kept too long in the water, as this frequently renders 
it brittle. Xothing further is necessary other than 
dipping the article, then rubbing and subsequentlv pol- 
ishing;. 



GILDING AND SILVERING. 89 

To protect the articles against acids, they are dipped 
into a bath of 60 parts of mercury, 39 of tin and 1 of 
silver. While warm they are dipped in melted silver 
or plated by the electrolytic process. 



Gilding By Dipping. 

Articles of steel, copper, silver and other of the baser 
materials may be gilded by immersing in a weak solution 
of chloride of gold. This is, however, more interesting 
as a fact than of practical value. 



Solution for Gilding Brass and Copper. 

Fine gold, 6^ dwts. Convert the gold into chloride 
and dissolve in 1 quart of distilled water, then add 1 
lb. of bicarbonate of potassium and boil the mixture for 
two hours. Immerse the article to be gilded in the 
warm solution for a few seconds, up to one minute, ac- 
cording to the activitv of the bath. 

Another method of gilding brass and copper articles, 
by simple immersion, is to first dip in a solution of 
proto-nitrate of mercury (made by dissolving quick- 
silver in nitric acid and diluting with water), and then 
dipping them in the gilding liquid. It is said that 
copper may be gilded so perfectly by this method as to 
resist for some time the corrosive action of strong acids. 
During the action which takes place, the film of mer- 
cury, which is electro-positive to the gold, dissolves in 
the auriferous solution and a film of gold is deposited in 
its place. 



90 DECORATION OF METAL, WOOD, GLASS, ETC. 

Process of Gilding. 

Place in a plate leaf gold, add a little honey, stir the 
two substances carefully together with a glass stopper, 
the lower end of which is very flat. Throw the resulting 
paste into a glass of water mixed with a little alcohol, 
wash it and leave it to settle. Decant the liquid and 
wash the deposit again. Repeat the same operation 
until the result is a fine, pure and brilliant powder of 
gold. This powder, mixed with common salt and pow- 
dered cream of tartar and stirred up in water, serves 
for gilding. 

Gilding Solution. 

One part of chloride of gold, 10 parts of ferrocyanide 
of potassium and 100 parts of water. Dissolve the 
salts in the water and then filter. In general the tone 
of the gilding varies according as the solution is more 
or less diluted. The color is most beautiful when the 
liquid is most dilute and most free from iron (from the 
ferrocyanide). To make the surface appear bright, it 
is sufficient to wash the article in water acidulated with 
sulphuric acid, rubbing gently with a piece of cloth. 

Solution for Gilding Bronze. 

Small articles may be gilded by immersing them in 
the following solution, which must be used at nearly 
boiling heat: 180 parts of caustic potash, 20 parts of 
carbonate of potash, 9 parts of cyanide of potassium 
and 1,000 parts of water. Rather more than lj parts 
of chloride of gold is to be dissolved in the water, when 



GILDING AND SILVERING. 91 

the substances are to be added and the whole boiled to- 
gether. The solution must be strengthened from time 
to time by the addition of chloride of gold, and also 
after being worked four or five times, by the addition of 
the other salts, in the proper proportions given. This 
bath is recommended chiefly for gilding economically 
small articles of cheap jewelry and for giving a pre- 
liminary coating of gold to large articles which are to 
receive a stronger coating. 

Coloring Processes. 

When gilding is of an inferior color, it is sometimes 
necessary to use some process to improve the color. 
There must be always a sufficient coating of gold upon 
the article to withstand the action of materials em- 
ployed. This condition being fulfilled, the artificial 
coloring processes may be applied with advantage and 
gold surfaces of great beauty obtained. Two dwts. of 
sulphate of copper, 4 dwts. of French verdigris, 4 dwts. 
of salammoniac, 4 dwts. of nitre and about 1 oz. of 
acetic acid. The sulphate of copper, salammoniac and 
nitre are first pulverized in a mortar, then the verdigris 
is added and well mixed with the other ingredients. 
The acetic acid is then poured on a little at a time, and 
the whole worked up together, when a thin mass of a 
bluish-green color will result. The article to be colored is 
to be dipped in the mixture and then placed on a clean 
piece of sheet copper which is next to be heated over a 
clear fire until the compound assumes a dull black color. 
It is now allowed to cool and is then plunged into a 
tolerably strong sulphuric acid pickle which soon dis- 



92 DECORATION OF METAL, WOOD, GLASS, ETC. 

solves the coloring salts, leaving the article a fine gold 
color. T\inse well in cold water to which a small quan- 
tity of carbonate of potash should he added. Next 
brush with warm soap and water, then rinse in hot 
water. 

Coloring Gilt Work. 
In working gold solutions employed in the dipping 
process, it may sometimes occur that the color of the 
deposit is faulty and patchy instead of being of the de- 
sired gold color. To overcome this, certain coloring 
salts are employed, the composition of which is as fol- 
lows: Nitrate of potash, sulphate of zinc, sulphate of 
iron, alum, of each equal parts. These substances are 
placed in an earthenware vessel and melted at about the 
temperature of boiling water. When fused, the mix- 
ture is ready for use. The articles are to be brushed 
over with the composition and then placed in a charcoal 
furnace and heated until by applying the moistened tip 
of the finger to one of the pieces, a slight hissing sound 
is heard. This indicates that the heat has been suffi- 
cient. Then the articles should be at once removed and 
thrown quickly into a very weak sulphuric acid pickle 
which dissolves the salts and leaves the work clear and 
bright. The coloring process has a rather severe action 
upon gilt work and should not be used when the gilding 
is a mere film. 

Silvering' Powder for Coating Copper. 
Mix together: 

80 grains of nitrate of silver, 

40 grains of common salt, 
7 drachms of cream of tartar. 






GILDING AND SILVERING. 03 

For use, moisten with water and rub it over the 
copper surface. 

Silver Wash for Plated Silverware That Has Lost Its 
Silver Coat. 

Mix 1 part of chloride of silver with 3 parts of pearl- 
ash, !■£ parts of common salt and 1 part of whiting, 
and rub the mixture on the surface of brass or copper 
that shows through the silver coating, which should be 
perfectly cleaned by means of soft leather or a cork 
moistened with w r ater and dipped in the powder. When 
properly silvered, the metal should be well washed with 
hot water that is slightly alkalized and then wiped dry. 

To Silver Glass. 

There are many methods of effecting this, some of 
which have been given, but the following is a very simple 
method and efficacious : 

(a) Reducing Solution. — Dissolve 12 grains of 
Eochelle salts in 12 oz. of water and boil. Add, 
while boiling, 16 grains of nitrate of silver, dissolved in 
1 oz. of water, and continue the boiling for ten minutes 
more; then add water to make 12 oz. 

(&) Silvering Solution. — Dissolve 1 oz. of nitrate of 
silver in 10 oz. of water, then add liquid ammonia until 
the brown precipitate is nearly but not quite all dis- 
solved ; then add 1 oz. of alcohol and sufficient water to 
make 12 oz. 

(c) To Silver. — Take equal parts of a and b, mix 
thoroughly, and lay the glass face down on the top of 
the mixture while wet, after it has been carefully cleaned 



94 DECOKATIOX OF METAL., WOOD, GLASS, ETC. 

with soda and well rinsed with clean wafer. Only dis- 
tilled water should be used for making the solutions. 
About 2 drachms of each will silver a plate two inches 
square. The dish in which the silvering is done should 
be only a little larger than the plate. The solution 
should stand and settle for two or three days before 
being used, and will keep good a long time. 

To Silver Glass Balls. 

Lead and tin, each 2 oz., 2 oz. of bismuth, 4 oz. 
of mercury. Melt together in order given. Have the 
globe perfectly clean and dry. Warm it, melt the amal- 
gam, pour it in and roll it about until the glass is coated. 
Too high a heat in use will spoil them. 

To Silver Glass Globes. 
1 oz. of nitrate of silver, 
3 oz. of distilled water, 
3 oz. of alcohol, 

1 oz. of ammonia, about, 

2 oz. of grape sugar. 

Dissolve the nitrate of silver in the water, add the 
ammonia in a quantity just sufficient to redissolve the 
precipitate formed at first, add the alcohol and allow 
it to rest for four or five hours. The grape sugar is 
dissolved separately in 1 oz. of water and added to the 
silver solution at the moment of using. The glass globes 
being perfectly clean, the solution is poured into them 
and the globes are turned on all sides in front of a 
moderate fire so that the liquid touches every part alike. 
The coating is done in a few minutes, when the excess 



GILDING AKD SILVERING. 95 

of liquid is to be removed and the globe washed with 
distilled water first and lastly with alcohol. The suc- 
cess of the operation depends in a great degree on the 
cleanliness of the surface of the glass to be silvered. 
The slightest speck of dust or grease is sure to show. 
A good way to clean the globes would be to wash them 
with a warm solution of soda, then with dilute nitric 
acid and lastly with alcohol, care being taken not to 
touch with the fingers any part of the globe which is 
intended to be silvered. 

To Impart a Silver Surface to Brass. 

No. 1. — Mix 2 oz. of chloride of silver with 5 oz. of 
cream of tartar, moisten the mixture with water and 
rub it over the brass by means of a cork dipped in it. 

No. 2. — Mix and use in the same way, 1 oz. of chlor- 
ide of silver, 3 oz. of pearlash, 1 oz. of whiting and 1-| 
oz. of common salt. It is needless to say that the coat 
of silver thus imparted is not very durable and soon 
wears oil the brass. 

To Silver Glass Balls. 

Melt together in the order in which the ingredients 
are given: 

2 oz. of lead, 
2 oz. of tin, 
2 oz. of bismuth, 
4 oz. of mercury. 
Ila^e the globe perfectly clean and dry. Warm it, 
melt the above amalgam, pour it in and roll the globe 



90 DECOBATIOH OF .METAL, WOOD, GLASS, ETC. 

about until the inside of the glass is coated. Too high 
a heat in use will spoil them. The amount of mercury 
can be lessened by one-half. The lead and tin are usual- 
ly melted first, after which the bismuth is added. The 
dross is scraped off and the mercury added. Leaves of 
Dutch metal are sometimes added, according to the color 
which it is desired to impart to the globes. 



To Silver Glass Globes. 
Dissolve 1 oz. of nitrate of silver in 3 oz. of distilled 
water, add sufficient (about 1 oz. is usually enough) am- 
monia to redissolve the precipitate that is at first formed, 
then add 3 oz. of alcohol and allow the mixture to rest 
for four or five hours, then filter. Separately dissolve 
2 oz. of grape sugar in 1 oz. of water and add to the 
silver solution at the moment of using. Then pour this 
fluid into the globes and treat them as described for 
balls. 

To Silver Cast Iron. 

To silver cast iron, 15 grains of nitrate of silver are 
dissolved in 250 grains of water and 30 grains of cy- 
anide of potassium are added. When the solution is 
complete, the liquid is poured into 700 grains of water, 
wherein 15 grains of common salt has been previously 
dissolved. The cast iron intended to be silvered by this 
solution should, after having been well cleaned,, be 
placed for a few minutes in a bath of nitric acid of 1.2 
specific gravity, just before being placed in the silv 
ing bath. 



(HLMNG A^D SILVERING. 9? 

Silvering of Metals. 
Small articles may easily be coated with silver by dip- 
ping them first into a solution of common salt and rub- 
bing with a mixture of 1 part of precipitated chloride of 
silver, 2 parts of potassa alum, 8 parts of common salt 
and the same quantity of cream of tartar. The article 
is then washed and dried with a rag. 

To Silver Plaster. 

Ordinary plaster models are covered with a thin coat 
of mica powder, which perfectly replaces the ordinary 
metallic substances. The mica plates are first cleaned 
and bleached by fire, boiled in hydrochloric acid, and 
washed and dried. The material is then finely pow- 
dered, sifted and mingled with collodion, which serves 
as a vehicle for applying the compound with a paint 
brush. The objects thus prepared can be washed in 
water, and are not liable to be injured by sulphurous 
acids or dust. The collodion adheres perfectly to glass, 
porcelain, woods, metals or papier-mache. 

To Silver Shells. 
Grind silver leaf in gum water to the required thick- 
ness and apply to the inside of the shell. For gold color, 
grind gold leaf in gum water. 

Preparation of Silver Size. 

Put in a pan 44 oz. of Spanish chalk, i oz - °^ Vene- 
tian soap, i oz. of beeswax and 9 oz. of finely-pulverized 
fat pipeclay ; roast thoroughly. Rub fine with the 



DECORATION OF METaL. y. LASS BTC. 

white i •: ggs. Form the mass into small balls and 

dry upon a glass plate. To apply th ~; . triturate a 

pie< x. then put it in a _ 3S and dilute with 

ish the frame with the dissolved size and let 

by before appl sr coat. 



PAPEE AND FABKICS. 

Preparation of Luminous Paper. 

The luminous mass or compound consists of: 
4 parts of potassium bichromate, 
4 parts of gelatine, 
50 parts of calcium sulphide. 
The constituents are thoroughly dried and mixed by 
grinding. One part of the resulting powder is stirred 
with 2 parts of boiling water to a thickly fluid paint, 
one or two coats of which are applied with a brush to the 
paper or pasteboard to be made luminous. To avoid in- 
equality in the thickness of the layer of paint, the paper 
is passed through a sort of callender with rolls at a 
proper distance to ensure a uniform spreading of the 
luminous mass. The rolls may be heated if desired. 

Preparation of Oil-Proof and Water-Proof Papers. 

Dip the parchment paper in a hot solution of gelatine 
to which has been added 2^- or 3% of glycerine, and 
dry. To make the same parchment paper water-proof, 
soak it in a solution of 1% of linseed oil and 4% of 
caoutchouc in carbon bisulphide. 

Decorating Textiles and Fabrics With Metallic Coatings. 

Make a thin paste with pure zinc dust and albumen 

and spread it with a brush or roller upon linen or cotton 

LOFC W 



100 DECORATION OF METAL, WOOD, GLASS, ETC. 

tissues. When dry, the albumen is coagulated by steam 
and the fabric immersed in a solution of chloride of tin. 
The tin is deposited in a line powder on the zinc. Beau- 
tiful effects can be made bv burnishing the whole or 
parts of it. 

Painting on Silk, Satin, Shirting or Linen. 

The principal object to be obtained in preparing the 
fabric is to take care that the stuff does not become too 
brittle from painting upon it. This is prevented by 
using the colors as flat as possible so that the material 
does not strike in the fabric too much. In order to stop 
the colors from coming through on the other side, a size 
made from 4 parts of gelatine and 10 parts of water, 
with from 10 to 20 drops of glycerine added to each 5 
oz. of the gelatine and water solution, should be applied 
on shirting or linen over all the design, while on silk 
or satin only the outline of the design should be sized. 
The size must be dry to the touch before beginning to 
paint. Tube colors in oil are the best suited for the 
purpose and several applications are requisite to bring 
out the effect properly. The colors must be as free 
from oil as possible, especially on the first coat. To 
make the colors less oily, extract some of the oil from the 
color by placing it on blotting-paper for a short time. 
Use brushes or pencils with bristles as short as possible 
and trim them to suit. If any part of the painted sur- 
face should be matt, go over it with a good pale coach 
varnish of the proper elasticity. For large surfaces it 
is best to draw as much of the oil from the colors as 
possible, and add to the color a little heavy painter's 






PAPER AND FABRICS. 101 

varnish and enough turpentine to make it flow freely 
from brush or pencil. For sizing silk or satin that is 
not exposed to dampness, 1 part of white of egg and 
2 parts of water will answer very well. 

To Silver Ribbons. 
Make a solution of nitrate of silver and add a little 
gum to it so that the liquid will not run. Then with a 
earners-hair pencil or pen draw any sort of ornamental 
figure on the ribbon. After the drawing is dry, hold the 
ribbon over a vessel containing water, zinc and a little 
sulphuric acid. In a short time the silver will be re- 
duced and adhere quite strongly to the fabric. 

To Impart an Iridescent Appearance to Paper. 

Boil together and strain through a cloth, 6f oz. of 
powdered gallnuts, 4-| oz. of sulphate of iron, f oz. of 
sulphate of indigo, 18 grains of gum arabic. Brush this 
compound over the paper and expose to the vapor of 
ammonia. 



IMITATIONS. 

Imitation of Mother-o'-Pearl and Marble With Glue. 

The following process for the sake of clearness is 
divided into five principal operations, the first of which 
is the preparation of the plates. Both enamel and glass 
plates are used for imitation of marble, but only glass 
plates are employed for imitation of mother-o*-pearl. 
The glass plates must be ground but need not ex<_- 
1-10 to 1-7 inch in thickness and only require careful 
washing and drying for imitation of mother-o'-pearl. 
Tor imitation of marble they should be rubbed with an 
oiled rag. Tine plates after being washed are polished 
with pure colc^thar and water and wiped with a soft 
rag to remove any particles of the polishing powder. 
The polishing paste is then gently rubbed with a rag 
dipped in pure Spanish chalk soapstone) and the ex- 

— of chalk carefully wiped off. 

The second operation is the prepartion of the glue 
solution. Tor 1 dozen plates, each 1 square yard, soak 
2 lbs. of good colorless glue in water for 2-1 hours. Then 
pour off the water and melt the glue in a waterbath 
and stir in 3| oz. of glycerine. Tor imitation marble 
with two colors, compound 1 to li parts of this 'glue 
solution with the quantities of choroughly good mineral 
colors mentioned below, the rest of the glue ^olutioii 

102 



IMITATIONS. 103 

being mixed with 6^ oz. of zinc white, ground very fine. 
For imitating marble with three colors, mix f part of 
the glue solution with the coloring matter and f part 
with the other coloring matter, and the remainder with 
zinc white. For imitating marble with four colors, 
take | part of the glue solution to each of the three 
coloring matters, and mix the rest with 4^ oz. of zinc 
white. The proportions by weight of the mixture for 
ten different varieties of imitations of marble and 
enamel are as follows : 

(a) Mix 1 part of glue solution with If oz. of col- 
cothar and 24 oz. of zinc white, and the rest of the 
glue solution with 6^ oz. of zinc white. 

(b) Mix 1 part of the glue solution with If oz. of 
colcothar and the rest with 5^ oz. of zinc white. 

(c) Mix f part of glue solution with If oz. of zinc 
white and 1 oz. of colcothar, f part of the glue solution 
with 1 oz. of yellow ochre and the rest with 5^ oz. of 
zinc white. 

(d) Mix i part of glue solution with 1 oz. of col- 
cothar, f part of the glue solution with f oz. of sepia 
and the rest with 5 J oz. of zinc white. 

(e) Mix 1 part of the glue solution with 1 oz. of 
quite and filtered solution of aniline black and the rest 
with 6:|r oz. of zinc white. 

(/) Mix -J part of glue solution with f oz. of col- 
cothar, i part of the glue solution with f oz. of yellow 
ochre, \ part of the glue solution with f oz. of soap and 
the rest with 4^ oz. of zinc white. 

(g) Mix 1 part of the glue solution with U oz. of 
lampblack. For gray add sufficient zinc while to pro- 



104 DECORATION OF METAL, WOOD, GLASS, ETC. 

duo - glile solution is 

mixed with inc white. 

Mis j parr of the glue solution with f oz. of 
umber, ~\ i glue s ation with f oz. of bole, \ 

part of the glue solution with f oz. of ochre and the rest 

with 4 .y oz. of zinc white. 

For enamels, mix 1 part of the glue solution with 
. of minium and the rest with 6 oz. of zinc white. 
< k i Mix 1 part of the due solution with 1-J oz. of 
chrome green and the rest with 6^ oz. of zinc white. 

For Imitating Mother-o'-Pearl Veneers. 

Grind up | oz. of silver bronze with a little glue or 
water, and intimately mix with the above glue solution. 
The bronze powder must be in a dry state when stirred 
into the glue or lumps would be formed and the veneers 
become spotted. 

In place of bronze, essence of fish-scales, which is of 
course expensive, may be used. This essence is made by 
washing rlsh-scales from mackerel, while fresh, free of 
skin. etc.. and keeping them in alcohol. A solution of 
glue thus prepared is then compounded with different 
aniline dyes, according to the colors desired. 

For preparing yellowish veneers, the glue solu- 
tion is used without an addition of coloring matter or 
with an addition of various solutions of picric acid. 

i rlesE veneers or those of slightly reddish 

tint, a smaller or g fcer number of drops of concen- 
trated solution of fuchsine are added, which counter; 
the yellowish tint i glue. For those imitations 

mother-o'-pearl veneers ; a conceub solution of gela- 






IMITATIONS. 105 

tine compounded with 1 oz. per cwt. of glycerine can 
be employed, especially when essence of fish-scales is 
used. 

(c) For Blue. The glue solution is compounded with 
Blue de Lyons, but the greatest care must be experienced 
not to use too much or the imitation becomes indistinct. 
The right degree of shade can be tested by allowing a 
few drops of the colored glue solution to fall upon a 
glass plate. For red, a solution of fuchsine or carmine 
is used ; the latter is obtained by dissolving commercial 
carmine powder in alcohol. 

Orange colors are produced by a solution of resorcine. 
Violet, by adding dahlia violet. To these, as well as for 
the solution colored with fuchsine, the plates must not 
be rubbed with oil, as even the smallest trace of oil 
discolors their color in drying, or at least the veneer will 
shoAv colorless spots. The different shades of gray are 
obtained by adding more or less of aniline blue which 
has been previously filtered. 

Pouring the Colored Glue Solutions Upon the Plates. 

For imitations of marble and enamel, the glass plates 
rubbed with oil are placed in a horizontal position with 
the rubbed surface up. The proper position of the 
white ground mass, after it has become somewhat thick, 
is then poured upon the plates and the gaps left free in 
pouring are filled in and smoothed with an instrument 
resembling a knife and made of horn or bone. Upon this 
white ground the respective colored solutions of glue are 
then poured in zigzag form, parallel veins or spots, and, 
according to the desired design, drawn through the 



10G DECORATIOX OF METAL, WOOD, GLASS, ETC. 

ground with a glass rod. If several differently colored 
glue solutions are to be applied, as given, for instance, 
under Xo. 2 ; they should be poured in quick succession, 
so that the succeeding color contacts or that a white strip 
or spot remains between each color. The whole is inter- 
mingled with the glass rod according to the design. If 
the latter is to have sharply-defined lines and spots, the 
respective glue solution is used somewhat thicker, but if, 
on the other hand, the design is to be blended, the glue 
solutions are used somewhat warmer. The plates, when 
the glue has become solid, are placed until further treat- 
ment in a cool place for two or three hours. 

Malachite. 

Imitations of malachite are prepared in a similar 
manner. lour glue solutions with different shades of 
green to the lightest tint are prepared, and these solu- 
tions poured upon a slightly greenish-colored ground in 
imitation of the curves and veins peculiar to malachite. 
These curves and veins are then traced with a comb 
with teeth standing at equal distances from each other. 

The glass plates set aside to be used for imitations of 
mother-o'-pearl are now taken in hand. The glue solu- 
tions must be kept warm in a waterbath and thoroughly 
stirred every time before pouring them upon the plates, 
and the formation of a skin on the surface of the glue 
must be strictly avoided. For pouring out the solutions 
it is best to use a porcelain dish with a spout and a han- 
dle and having the capacity of about 12 cubic inches. 
The portion of glue solution required for each plate 
fl| fluid oz.) is npw measured into the porcelain dish 



IMITATIONS. 107 

and after allowing it to stand a little while it is poured 
upon the plate and uniformly distributed. 

The production of the mother-o'-pearl design requires 
some skill and practice. A comb with teeth set ^ inch 
apart is used for this purpose. It is held in a somewhat 
oblique position, the teeth are gently pressed upon the 
glass plate, and with frequent turnings of the comb at a 
right angle, cycloidal motion is executed. 

The treatment is commenced from the front to the 
back edge of the plate, and when the glue begins to 
thicken on the edges, continued at the softer places until 
the desired design is produced. The places, after the 
glue has acquired the necessary degree of solidity, must 
not be retouched with the comb. When all the plates 
have been treated in this manner they are then set aside 
for two or three hours. 

Transferring the Layer of Glue to the Layer of Gelatine. 

For each dozen of veneers soak 2^ oz. of gelatine. 
Then melt it in a waterbath and add glycerine equal 
to 10% of the gelatine and let the mixture settle. The 
glass plates treated with colcothar and Spanish chalk 
(soapstone) are now placed in a horizontal position; 1 
gill of the gelatine solution is poured on and the gaps 
filled in by means of the glass rod. The front edge of 
the plate covered with the colored layers of glue is now, 
glued side down, laid exactly upon the front edge of 
the gelatine plate, while the back edge of the former is 
gradually lowered until the plate lies firmly upon the 
gelatine. We will here remark that the gelatine solu- 
tion must only be cooled off so far that the glue will not 



108 DECORATION OS METAL, WOOD, GLASS, ETC. 

melt on touching it. If it is cooler, the veneers will 
be blistered. Care must be taken that before placing the 
first plate upon the gelatine, no gelatine escapes, but that 
any excess of the latter only runs off after the back edge 
of the first plate touches that of the latter. 

The plates are now allowed to rest quietly until the 
gelatine is congealed, when they are removed to a cool 
place where they remain for five or six hours. 

The imitations 'of mother-o'-pearl are treated in the 
same manner, with the exception that the gelatine solu- 
tion is colored with the same matter as the glue solution. 
For the colorless or yellowish veneers, the gelatine solu- 
tion is not changed. 

After six hours the first glass plate is detached from 
the laver of c;lue bv loosening the latter around the ed^e 
with a knife blade and the plate gradually lifted off, 
commencing at one corner. With some care this is 
easily accomplished without detaching the gelatine layer. 

Drying and Detaching the Veneers. 

The veneers, with the gelatine layers still adhering to 
the glass plates, are dried. This is effected in a heated 
room in which the veneers are arranged upon frames 
so that they stand almost perpendicular. The hot air 
enters near the ceiling of the room while the moist air 
is swept away near the floor. The temperature of the 
lowest zone where the fresh plates are placed should 
not exceed 68° F. The plates are moved higher up every 
day until they become thoroughly dry. The veneers, be- 
fore removing them from the room, must be tested in re- 
gard to their dryness. They are sufficiently dry when 



IMITATIONS. 109 

on pressing the finger-nail upon the glue no impression 
is made. 

The plates after removal from the room are allowed 
to cool off for at least three hours before the veneers are 
detached from the glass plates. Operation begins by 
detaching the gelatine layer on the edge with a very thin 
knife blade. The operator then takes hold of one corner 
of the veneer and draws it gradually and carefully from 
the glass plate. The edges of the veneers are then 
trimmed and they are ready for use. 

If the veneers are to resist the action of water, mix 
with the solution of gelatine a compound with glycerine, 
-J fluid oz. of a solution of 5 parts of chrome alum in 
100 parts of water to every plate. Immerse the veneers 
for a short time, after they have been detached from the 
first plate, in a similar solution of chrome alum. 

The veneers prepared by this method can be used for 
various purposes in architecture; also in the manufac- 
ture of furniture and for coating columns for inlaid 
work, etc. Add some glycerine to the glue with which 
they are to be fastened to the articles. This will pre- 
vent them from blistering and coming off. 

Imitation Coral. 

Alabaster is generally used for making imitation 
coral. For the purpose of drying them, prepare a bath 
of 1 part of tartar, J part of composition of tin and TO 
parts of water. The composition of tin is prepared 
from 8 parts of nitric acid, 1 oz. of salammoniac, 1 oz. 
of tin and 25 oz. of water. Saturate the bath with 
cochineal and raise it to the boiling point; then allow 



110 DECORATION OF METAL, WOOD, GLASS, ETC. 

it to cool and decant the clear fluid from the dregs. 
Steep the alabaster in this fluid and then boil for one 
hour. Dry in the open air and finally put into a bath 
composed of equal parts of stearic acid and wax for 
two to three hours. After removal from this wax bath, 
wipe off the paper and polish with a cloth. 

To Make Imitation Cameos. 

]\Iake marble cement into a thin paste with a mixture 
of yolk of egg and water. The paste can be colored as 
desired and is then put into molds by means of a brush. 
Before putting the cement in the molds they should be 
silvered and oiled. The figure of the mold is first 
filled with the paste and when this is cold the mold is 
filled with a paste of a different color. When all is 
hard, the cameo is dried, figure-side up, then dusted 
with soapstone and brushed with a soft brush. It may 
also be saturated with stearine by warming the cameo 
or by laying on a hot solution of wax. 

To Dye Horn in Imitation of Tortoise-Shell. 

Xo. 1. — Mix orpiment (yellow arsenic sulphide) with 
lime-water and apply with a brush. 

Xo. 2. — Use nitrate of mercury. This gives a brown 
stain. The different dyes can be used on the same 
piece of horn. 



DECORATION OF PORCELAIN. 

Painting Glass, Porcelain, Etc. 

To prepare the flux, melt in a saucer or Berlin evapo- 
rating dish, 30 parts of rosin, and add, during the melt- 
ing, 10 parts of basic nitrate of bismuth in small por- 
tions with constant stirring. When the mixture begins 
to assume a brown color, pour 40 parts of oil of lavender 
into the saucer and stir until the ingredients are thor- 
oughly combined. Then remove the saucer from the 
sand bath and allow the contents to cool. Add 35 parts 
of oil of lavender and the flux is ready for use. The 
coloring matters are salts, oxide of antimony, chromium, 
cobalt, copper, iron, iridium, palladium, platinum, 
rhodium, silver, uranium, zinc and gold, if mother-o'- 
pearl or a prismatic play of colors is to be produced. 



Metallic Colors for Decorating Porcelain. 

Prepare a mixture of a solution of a zinc salt and a 
solution of a salt of some other metal. Evaporate the 
mixture to the consistency of dough and heat in a re- 
fractory clay retort. As soon as the residue assumes the 
desired color, the heated product is withdrawn from the 
furnace. This solution of zinc salt is used for preparing 
the solution of metallic color. 

Ill 



112 DECORATION OF METAL, WOOD, GLASS, ETC. 

Bronze Color. 

Add to the zinc solution, 3 parts of a solution of 
nitrate of cobalt and of 15 to 19 parts Beaume of a 
solution of nitrate of nickel and 1 to 1^ parts of a 
solution of nitrate of silver. 

For Gold Lustre. 
Melt in a porcelain dish or saucer over a sand bath, 
30 oz. of colophony and add 10 oz. of uranic nitrate, 
and while constantly stirring, add 30 to 40 oz. of oil 
of lavender. By intimately mixing the mass thus ob- 
tained with a like quantity of bismuth glass (prepared 
by fusing together 4 oz. of oxide of bismuth and 4 oz. 
of crystallized boracic acid) a brilliant yellow color will 
result after fusing. 

Copper-Red Lustre. 
^Jelt in a saucer, 15 oz. of colophony and mix with 
it gradually, and with constant stirring, 15 oz. of ferric 
nitrate and 18 oz. of oil of lavender. When the mix- 
ture is homogeneous, take it from the fire, allow it to 
cool, then add 2 oz. or more of oil of lavender. By 
mixing 1 part of this mass with 2 parts of bismuth 
glass (see gold lustre above), orange, red and all in- 
termediate colors can be obtained, according to the quan- 
tity of bismuth glass used. 

Orange Lustre. 
Mix and rub up in a mortar, 2 oz. of uranic oxide, 1 
oz. of chloride of zinc and 3 oz. of bismuth glass. 



DECORATION' OF PORCELAIN. 113 



Prismatic Colors for China. 

Rub up on a plate, cyanide of gold with mercuric cyan- 
ide so that a paste is formed. Allow this to dry and 
then rub it up with oil of lavender. This auriferous 
compound is mixed with three to ten times its quantity 
of bismuth glass. 

Yellow. 

Add to a solution of zinc solution 1^ to 2 -J parts of a 
solution of ferric sulphate of 28 to 30 Beaume. 

Gray. 

Add 2^ parts of a solution of blue nitrate to a solution 
of zinc. 

Green. 

Add 2|- parts of a solution of nitrate of cobalt of 
20 Beaume to a solution of zinc salt. 

Rose-Red. 

Add 2 to 3 parts of a solution of ferric nitrate of 20 
to 25 Beaume to a solution of zinc salt. 

Golden Yellow. 

Add 2 parts of a solution of nitrate of magnesia of 
12 to 16 Beaume and a few drops of a saturated solu- 
tion of silver to a solution of zinc salt. 

Yellowish Green. 

Add 2 parts of a soluble nitrate of nickel of 15 to 16 
Beaume to a solution of zinc salt. 



114 DECORATION OF METAL, WOOD, GLASS, ETC. 



Decorative Lustre Ware. 

The old-time copper-colored lustre ware that was so 
popular fifty or sixty years ago is seldom seen now, yet 
most of it is more decorative than much of the highly- 
colored, elaborately gilt ornaments so prevalent. There 
is no reason why this lustre ware should fall out of use, 

it is as easy to produce it as to produce over-glaze 
painting or decorating vases, etc. 

When laid on biscuit, coated with a solution of 
uranium, light and dark iridescent colors are obtained. 
The colors may all be mixed together or applied on 
top of the other. Mother-o'-pearl colors can be easier 
produced upon glass than upon porcelain. For the 
latter it is necessary to mix the bismuth glass with lead 
glass and frequently chloride of antimony mixed with 
rosin must be added. 

Dark Purple. 

Dilute a clear solution of 1-J drachms of gold in aqua 
regia with 20 lbs. of distilled water and add, with con- 
stant stirring, li drachms of a solution of protochloride 
of tin. The fluid will assume a deep brown-red color 
and precipitation will take place on adding a few drops 
of sulphuric acid. The fluid is now poured off, the pre- 
cipitate washed five or six times with water and then 
collected in a filter, where it is allowed to drain off. 
While still moist it is placed with a silver spatula upon 
a glass plate and intimately mixed with 3 drachms of 
very fine lead glass, obtained as above. The mixture is 
dried, then mixed with 1-i drachms of carbonate of 



DECORATION OF POiiCELALN". 115 

silver and rubbed fine. About \ oz. of dark purple will 
be obtained in this manner. 

Pale Purple. 

Dissolve li oz. of shavings of iron in boiling aqua 
regia, and concentrate the solution in a water bath until 
it becomes solid. In this manner chloride of tin is ob- 
tained containing hydrochloric acid in excess, which is 
dissolved with a little distilled water and mixed with \ 
drachm of protochloride of tin of 17 specific gravity. 
The solution of tin is then gradually mixed in a large 
beaker glass with 24 gallons of water, but the solution 
should contain a sufficient quantity of acid to prevent a 
separation of stannous chloride. A solution of 8 grains 
of gold in aqua regia, which has been previously evapo- 
rated nearly to dryness in a water bath, then diluted 
with water and filtered in a dark room is then added to 
the solution of tin, which has also been diluted with 
water. The fluid will assume a dark-red color with- 
out a precipitate being formed. The precipitate is mod- 
erately formed by adding \\ oz. of liquid ammonia. 
Sometimes it happpens that the precipitate does not en- 
tirely settle upon adding the ammonia. In such a case 
the addition of a few drops of concentrated sulphuric 
acid will suffice to bring about the desired result. The 
fluid mass then is poured off as quickly as possible and 
the precipitate washed five or six times with fresh water. 
It is then collected upon a filter, allowed to drain off 
thoroughly, and, while still moist, placed with a silver 
spatula upon an opaque glass plate with 6 drachms of 
lead glass, previously rubbed fine. The mixture is dried 



116 DECORATION OF METAL, WOOD, GLASS, ETC. 

on the glass plate, upon which the gold purple has been 
rubbed with the lead glass, by placing it in a room free 
from dirt. When dry it is mixed with 50 grains of car- 
bonate of silver. By this process a little over 1 oz. of 
pale purple should be obtained with the employment of 
8 grains of gold. 

Rose-Red Purple. 
Dissolve 16 grains of gold in aqua regia and mix the 
solution with a solution of H oz. of alum in 5 gallons of 
water. Add to this, with constant stirring, \ fluid 
drachm of solution of protochloride of tin, 1.7 specific 
gravity, and then pour liquid ammonia into the fluid 
as long as a precipitate of alumina is formed. When 
the precipitate has settled, pour the liquid off, replace it 
with ten times the quantity of water, wash the precipi- 
tate with this and then dry it at a moderate heat. About 
\ oz. of dry precipitate will be obtained, which is mixed 
with 40 grains of carbonate of silver and 2^ oz. of lead 
glass, prepared in the same manner as given under pale 
purple, and the mixture rubbed up on a glass plate. 
The gold color when washed can only be fused upon 
porcelain glaze, as, when subjected to a higher tempera- 
ture, the gold and silver are separated in metallic form 
and assume a dirty brown leather-like appearance. 

Dark Yellow. 

Xo. 1. — ]\Iix intimately, IS parts of minium, 16 oz. 
of sand, IS oz. of anhydrous borax, 16 oz. of potassium 
antimoniate, 4 oz. of oxide of tin and 5 oz. of ferric 
oxide. Fuse the mixture in a Hessian crucible until the 



DECORATION OF PORCELAIN. 117 

mass is entirely homogeneous, when it should immediate- 
ly be removed, as the color will become dirty yellow. 

No. 2. — This consists of 20 parts of ammonia, 2^ 
parts of white sand, 4^ oz. of potassium antimoniate, 1 
oz. of ferric oxide and 1 oz. of oxide of zinc. The in- 
gredients are fused in a Hessian crucible until the mass 
is entirely homogeneous. 

Pale Yellow. 

First prepare a lead glass by fusing 8 parts of minium 
and 1 part of white sand. Pulverize and dry this. The 
color is then prepared by intimately mixing together 4 
parts of potassic antimoniate, 1 part of stannic oxide 
and 3 parts of the above lead glass. The mixture is 
fused in a Hessian crucible and allowed to cool, when 
it is comminated and rubbed fine. 

Lemon Yellow. 

Mix intimately, 8 parts of potassic antimoniate, 2 
parts of zinc oxide and 36 parts of lead glass. Heat 
the mixture in a porcelain crucible until it forms a 
flux. It is then taken out, and when cold, rubbed fine 
upon a glass plate. The mass must not be fused longer 
than as stated or the color will become decomposed. 

Uranium Yellow. 

Mix 1 part of uranium oxide and 4 parts of lead 
glass, prepared by fusing together 8 parts of minium 
and 1 part of white sand. The color is then mixed and 
rubbed upon a stone. 



118 DECORATION OF METAL, WOOD, GLASS, ETC. 

Yellowish Red. 

Heat anhydrous sulphate of iron by placing the 
saucer containing it in an open muffle furnace. Stir 
it constantly until the greater part of the sulphuric acid 
has escaped, then take it out, and when cool, wash the 
ferric oxide with water to remove all traces of undecom- 
posed salt and then dry it. To produce a fusible color, 
mix 7 parts of this yellow red, ferric oxide and 24 parts 
of lead glass (produced by fusing 12 parts of uranium 
and 1 oz. of calcined borax), and rub up the mixture 
on a glass plate. 

Yellow for Figures, Landscapes, Ornaments, Vases, Etc. 

Add to the dark yellow color 1 and 2, some maple 
yellow, which is prepared by placing 1 part of tartar 
emetic, 2 oz. of nitrate of lead and i oz. of decrepitated 
common salt, in a Hessian crucible, submitting the 
mixture to a continued strong heat. The residue is 
broken up, washed, dried and rubbed fine. 

Naples Yellow. 

Mix 8 parts of Xaples yellow and 8 oz. of lead glass, 
prepared by fusing 2 parts of uranium, 1 of white sand 
and 1 of calcined borax. 

White (Covering). 

Mix and fuse in a porcelain crucible, 1 part of 
minium, 1 part of white lead and 1 part of crystallized 
boracic acid* This color is used for marking the light- 



DECORATION" OF PORCELAIN. 



119 



est places of designs which cannot be produced by leav- 
ing bare the porcelain, and also for mixing only in simple 
quantities with yellow and green colors to make them 
cover better. 

Dark-Red Enamel. 

Bub up w r ith water, 1 part of brown sulphate of iron 
and 2-| parts of flux ~No. 7. 

Light-Red Enamel. 

Rub up with water, 1 part of sulphate of iron and 2 
parts of flux No. 1. 

Opaque White Enamel. 
Calcine in a clay crucible, 1 part of buckshorn shav- 
ings until they are entirely white, and rub them up into 
a paste with 1 pint of flux No. 1. Then triturate with 
water, 1 part of Venetian white enamel in cakes, and 
1 part of flux No. 8 and fuse the two mixtures together. 



STRAW. 

Bleaching and Dyeing of Straw. 
Before straw is available for the many purr - 
which it is us - industrial i rts, il ia sul : ■'• 

a bleaching s& which is _ ally preceded by a 

cleansing bath. For the purpose of diss 2 the 

oral coloring matter the straw is steeped in hot water 
and then treated with alkaline lye dsting of 
tor, v | arts i ttash and 12 parts of - 
When taken from this bath it is successively ininic: 
in two or three baths of weaker lye and finally rinsed in 
iling water. The bleaching process commences in a 
ehl ath and is finished in one of sulphuric acid. 

I by to 2 "raw, 

after the bleachin^ -~. with sulphur var it in 

order to obtain beautiful sfa - -:»lor it is advisa 
in this case to ooloi straw after the treatment with 

a little pic: by immersing it in a bath of 24 

r and J drachm o: Qized picric acid. Be- 

- with sulphur vapor- the straw can also be bleached 

in the following manner: Immerse •' s. : -"raw in 

warm water for a few hours, then treat it with a - 

E ition of 40 Beaume for six hours and boil it for one 

hour with 1 lb. of chloride of lime. Then add to the 

h 1 oz. : Joric acid diluted with 

_ aliens of water, and allow the straw to remain in it 

120 



STEAW. 



121 



for half an hour, after which it is placed in a 1% solution 
soda bath and finally rinsed in water. By this method 
the straw acquires a beautiful white color and great sup- 
pleness and elasticity. Before dyeing it is advisable to 
thoroughly soak the straw in order to fix the color uni- 
formly. The most important colors are black, brown 
and «:rav. 



<r>*- 



Process of Dyeing Straw. 

Note. — The following proportions of ingredients are 
for 22 lbs. of straw. 

Black, No. 1. — Boil the straw for two hours in a dye 
bath made of 2 lbs. of logwood and 1 lb. of sumach or 
gall-nuts and then place it in a bath of nitrate of iron 
of about 4 Beaume. Binse and dry. 

Black, No. 2. — Boil for two hours with 4 lbs. of 
logwood, |- lb. of sumach and 1 lb. of fustic or turmeric. 
Then darken by dipping into a solution of sulphate of 
iron. Binse and dry. 

Black, No. 3. — Boil for two hours in a bath made of 
4 lbs. of sulphate of iron, 2 lbs. of tartar and 1 lb. of 
sulphate of copper. Finish off in a bath made of 8 lbs. 
of logwood with an addition of some turmeric. 

Gray. — Soak the straw in a solution of sodium car- 
bonate with an addition of some lime to remove the 
sulphur. Then boil for two hours in a dye bath con- 
sisting of 4 lbs. of alum, 3^ oz. of tartaric acid, and, 
according to the desired shade, some cochineal, indigo 
or carmine. To neutralize the cochineal, add some sul- 
phuric acid. After boiling, wash the straw in slightly 
acidulated water. 



122 DECORATION OF METAL. W0« i8&, ETC. 

wn. — Boil the straw £ hours in a dye bath 

made of 1 lb. I : sanders wood, 2 lbs. of turmeric, 

| lb. of sumach and 21 ok. of logwood. Then rinse 

: darken ing to th shad i:h 3 to Vc 

of sulphate of iron. 

stnut Brown. — Boil for two hours in a dye bath 
made oi _ outchouc, 2 lbs. of turmeri 

gallnuts and 1 oz. 2 and finally treat with 

nitrate of iron of 4 Beaume. and rinse again. 

Havana Brown. — Soak the straw in a solution of 4J 
to 6J lbs. of alum. Then dye in a bath of 13 oz. of 
san s of turmeric, B drachma of 

sumach and 12 | <~>z. of logwood, and then rii> 

Violet — Boil for two hours with -i lbs. of alum, 1 
lb. of tartaric acid and 1 lb. of tin salt. According 
the shade required, add some >f I gw 1 or in- 

digo. After ing ; wash in alum water. 

L — The mordant consists of 1 lb. of tartar and 
- ... tin salt. Boil for two hours. Then boil for one 
hour in a solution made of 1 lb. of fustic. 7 oz. of 
turmeric, 7 z. of madder, 16 : 

of 1 _ L Then add cudbear, archil or madder. 

en. — B hours in a mordant of 7 oz. of 

sumach. . of alum. 16 oz. of tartar and then add 

some picric acid, turmeric and aniline green. 

To give lustre to the article manufactured from the 

straw, gum • e ine is frequently used. D 

ing with the coal-tar or aniline dye- not require 

the use of any mordant, as these « ek the organic 

fibre of the straw directly it comes in comae: with the 

iw. 



STATES FOE WOODS OF VARIOUS KINDS, 
VENEERS, ETC. 

To Stain Maple Wood Silver-Gray. 

No. 1. — Upon the bottom of a watertight box place a 
layer of grindstone sand (from the troughs of grind- 
stones), upon this wood, and then again a layer of grind- 
stone sand. Then pour over it sufficient rain-water to 
cover the whole, and place the box in a warm place for 
from three to five weeks. Replace the water lost by 
evaporation so that the wood is never dry. By this 
process a beautiful silver-gray color is produced on 
maple and lime wood. 

No. 2. — Place the wood for three or four hours in a 
decoction of 1 part of pulverized gallnuts in 10 parts 
of water, and then for one hour in a solution of sulphate 
of iron in 60 parts of cold water. Then brush it off 
with a soft brush dipped in a solution of 1 part of alum 
in 18 parts of water and allow it to dry. Should the 
color be too light, repeat the process but allow it to re- 
main in the baths only a few minutes. 

No. 3. — Pour sharp vinegar over iron filings and 
alum and brush the wood over with the solution until 
the desired silver color is obtained. Gallnuts converted 
into coarse powder may also be used in the place of iron 
filings. 

123 



124: DECORATION OF METAL, WOOD, GLASS, ETC. 

Xo. 4. — Dissolve verdigris in vinegar or crystallized 
verdigris in water and paint the wood with the solution 
until it has acquired the tint desired. The solution may 
be used either warm or cold. 



For Veneers. 

For veneers which are to be stained through and 
through, place 16 parts of salammoniac and a sufficient 
quantity of iron filings in an earthenware pot, pour 
strong vinegar over them and let it stand for fourteen 
days in a warm oven. Then pour sharp lye into another 
pot, add gallnuts converted into a coarse powder, and 
shavings of blue Brazil wood. Let the whole stand in 
a warm place for a few days. This gives an excellent 
stain. 

Boil the veneers for a few hours in the first stain of 
salammoniac and steel filings and let them remain for 
three days. Then place them in the second stain and 
proceed in the same manner as with the first. In case 
the veneers should not be entirely colored through, re- 
peat the operation. 

Stains for Floors. 

Boil 25 parts of fustic and 12 -J- parts of Brazil wood 
with 1,000 parts of soapboiler's lye to which has been 
added 12 J parts of potash. When the liquid is boiled 
down to 700 or 800 parts, add 3 -J- parts of annota and 
75 parts of wax, and when this has melted, stir the 
compound until it is cold. It is of a brown-red color 
and the above quantity suffices to keep a floor in good 



STAINS FOR WOODS OF VARIOUS KINDS. 125 

condition for a year by applying it once a week and 
rubbing it on with a brush. 



Staining Wood for Veneers, Mosaics, Etc. 

Treat the wood for 24 hours with a 10% 
caustic soda lye. Then boil it therein for half an hour 
and wash it to remove the alkali. This prepares the 
wood for the reception of the color. Dry the wood with 
filtering paper and press it to preserve the shape. Then 
immerse it for 24 hours in a dye bath consist- 
ing of i dye wood and § liquid; turn it occasionally 
and finally throw it in a bath of 1 part of sulphate of 
iron to 3 parts of water and the result will be a beauti- 
ful black. 

Yellow. — This is obtained with 1 part of picric acid 
dissolved in 60 parts of water. 

Various rose-colored tints are obtained by adding a 
little caustic soda to coralline. 

Eed Stain. — Immerse the wood in a solution of 3^ 
parts of Marseilles soap in 100 parts of water and then 
apply aniline red sufficiently diluted to give the desired 
tint. 

Violet. — Treat the wood in a bath consisting of 12 J 
parts of olive oil, a like quantity of calcined soda and 
125 parts of boiling water. Then strain with aniline 
red to which tin salt has been added. 

Blue. — Blue is produced in the same manner, except 
that aniline blue is used as a stain. 

Green. — Mordant the wood first with a solution of 
aluminum acetate of 1 Beaume and then place in a 



126 DECORATION OF METAL, WOOD, GLASS, ETC. 

decoction of Persian berries and indigo carmine. Quer- 
citron may also he used in place of Persian berries. 

Bright Red. — Boil for three hours, 6^ parts of cochi- 
neal, ground very fine, in 100 parts of water and paint 
with the solution. AVhen dry, apply a coat of a solu- 
tion of .'U parts of tin salt and 1^ parts of tartaric acid 
in 100 parts of water. 

Brown in various tints is produced by mordanting 
the wood with potassium bichromate and applying 
later on decoctions of fustic, logwood or Brazil wood. 

Another Method of Staining Wood Rose-Color by 
Chemical Precipitation. 

Wood and also vegetable ivory can be colored rose-red 
without much difficulty by chemical precipitation. The 
resulting color is very brilliant and uniform. 

First Bath. — This consists of 8 parts of potassium 
iodide to 100 parts of water. 

Second Bath. — Two and a half parts of corrosive 
sublimate to 100 parts of water. 

Immerse the wood for a few hours in the first bath. 
Then place it in the second in which it will acquire a 
beautiful rose-red color. The wood after drying is var- 
nished. Both baths can be repeatedly used without 
renewing them. 



ETCHING. 

Processes of Etching Various Materials. 

The following is a simple description of etching: 
For copper plates two preparations are used : 

No. 1. — The mordant is composed of 100 grams of 
hydrochloric acid, 20 grams of chlorate of potash and 
880 grams of water. The water is to be warmed and the 
chlorate of potash perfectly dissolved in it first ; then the 
acid is added. The common muriatic acid of commerce 
must not be used, as it gives off intolerable fumes and 
is of a deep yellow color. The proper form of acid for 
etching does not fume, and has a very slight odor when 
mixed with water. 

~No. 2. — The ground for the copper plate consists of a 
solution of yellow beeswax in turpentine, decanted until 
no sediment remains. The solution should be clear and 
of a bright yellow color. Add one-sixth of its volume of 
Japan varnish. 

To prepare the plate, clean the surface with engraver's 
emery paper, then pour a small quantity of the mordant 
into a shallow porcelain dish, such as photographers 
use, and put the plate in the bath, leaving it until the 
surface darkens all over. If any spots remain bright, 
that is a sign that the plate is greasy, in which case the 
grease must be removed. Then, when the plate is uni- 

127 



123 DECORATION OF METAL, WOOD, GLASS, ETC. 

formly dark, wash and dry and pour on it a little of 
the ground so that it covers the surface all over. Let it 
dry for t welve hours, then apply a second coat of ground, 
and, without waiting for it to dry, smoke the surface 
with twisted tapers, holding the plate upside down. 
Let it dry and the plate will be ready for etching on. 
Etching needles can be made of ordinary needles with 
points of different sharpness set in wooden handles. A 
more satisfactory kind, however, consists of a bar of 
steel about the thickness of one's little finger in the 
middle, tapering to a point at each end. These needles 
are more easy to work with, as the weight of the needle 
or rather bar, is enough to penetrate the wax coating on 
the plate, and the hand is left at liberty to draw freely. 
The needle can be sharpened on a stone. Xow proceed 
to draw on the plate, taking care that the needle goes 
through the wax and touches the plate. Take care also 
that your nail does not remove the ground or there will 
be a line where you do not want one. It is a good plan 
to have a piece of board with a hollow about J inch 
deep sunk in it, of slightly larger dimensions than the 
copper. Place the plate in this and have a flat piece 
of wood like a drawing ruler, which you can place 
across the hollow so that you can etch any part of the 
plate without fear of damaging it. Draw all the dark- 
est lines first, then immerse the plate in the bath con- 
taining the mordant for three hours. Take it out, dry 
it with blotting-paper, taking care not to push the wax 
back into the lines you have drawn. Draw the next 
darkest lines, put the plate in the bath for one and a 
half hours, draw again, put it in the bath for three- 



ETOmiSTG. 120 

quarters of an hour, dry again and draw the lightest 
lines and put it in the bath for three-quarters of an 
hour. The lines will have then been bitten for six 
hours, four and a half hours, one and a half hours, and 
three-quarters of an hour, according to the darkness you 
wish to produce. Six hours is about the average time 
for this biting solution, but it requires a longer time 
in winter and shorter in summer. The ground must 
now be removed with petroleum and a proof of the plate 
taken to see if there is anything further required. 

The etching is much improved by being touched up 
with a sharp knife, filling up gaps you may have left 
and making the shade blend together. This is done 
without acid, of course, is more in the style of engrav- 
ing and is termed dry point. Unless you have some 
experience in copper-plate printing, send the plate to 
a lithographer, as it will be a long time before you can 
print properly. 

Alabaster, to Etch. 

Use a ground of white wax and oil of turpentine, half 
thickened with very finely powdered white lead, and 
etch with very dilute acetic or hydrochloric acid. 

Etching on Brass. 

No. 1. — Sixteen parts of nitric acid, add to 160 
parts of water, dissolve 6 parts of potassium chlorate in 
100 parts of water. Mix the two solutions. 

No. 2. — For surface printing on brass in the litho- 
graphic manner : 8 parts of gum arabic, 2 parts of nut- 
galls, 1 part of nitric acid, 4 parts of phosphoric acid 
and 30 parts of water. 



130 DECORATION OF METAL, WOOD, GLASS, ETC. 

Etching on Bronze. 

For etching on bronze, the following is very good: 
100 parts of pure nitric acid at 40 Beaume, 5 parts of 
muriatic acid at 20 Beaume. 

Etching on Copper. 

Xo. 1. — Xitric acid, 20 Beaume, mixed with an equal 
amount of water. Add pieces of scrap copper. 

Xo. 2. — One part of nitric acid, 2 parts of potassium 
bichromate in saturated solution and 5 parts of water. 

Xo. 3. — Ten parts of hydrochloric acid and 70 parts 
of water. Then add boiling solution of potassium 
chlorate; dilute. 

Xo. 4. — Relief Etching. — One oz. of nitrous acid at 
39 Beaume, 1 dram of silver acetate, S oz. of hydrated 
nitric ether. To prepare nitric ether, mix 1 oz. of al- 
cohol with 1 oz. of nitric acid and stop reaction by add- 
ing more water. 

Xo. 5. — Tint Etching. — Two parts of bay salt, 1 part 
of ammonium chloride, 1 part of verdigris. Grind up 
with old honey syrup. 

Xo. 6. — Fielding. — One part of nitrous acid and 5 
parts of water. Use for aqua tints. 

Xo. 7. — Eight parts of strong vinegar, 4 parts of 
verdigris, 4 parts of ammonium chloride, 4 parts of 
salts, 1 part of alum and 10 parts of water. 

Etching Brass Signs. 
Paint the sign with asphaltum varnish, leaving the 
parts to be etched unpainted. Raise a border around the 



ETCHING. 131 

outside, made of beeswax or asphaltum, to hold the acid. 
Use acid diluted with 5 times the quantity of water. 
Pour the dilute acid on to the sign about \ inch deep. 
When the letters are cut deep enough, which must be 
found by trial, the acid may be poured off and the plate 
cleaned by heating and wiping and finally with turpen- 
tine. 

Etching on Cutlery. 

For etching on cutlery, a ground wax is required, 
composed of equal parts of asphaltum, Burgundy pitch 
and beeswax melted together and well incorporated. In 
applying it use a dabber or ball of cotton covered with 
silk. Warm the pieces of cutlery so that a stick of the 
wax will readily melt on touching it. Smear a small 
quantity of the wax on the blade or article and dab it 
evenly all over the surface. When cold, scratch the re- 
quired design on the surface and touch the parts with 
acid (1 part of nitric acid and 4 to 6 parts of water), 
using a cameFs-hair brush to cover the surface and 
bring the acid into contact with all the lines. In a few 
minutes the biting is done. Dip in hot water to wash 
off the acid and the surface may be cleaned by wiping 
with benzine. 

No. 2. — Another way is to make a varnish of asphal- 
tum and turpentine with a few drops of linseed oil to 
make it tacky. Have a rubber stamp prepared of the 
required pattern, with a border, so as to stop off around 
the design. Stamp the goods and with some of the 
varnish thinned down with turpentine and a brush, stop 
off the surrounding parts or surround the design with a 
small rim of beeswax and apply the acid as above. 



132 DECORATION OF METAL, WOOD. GLASS, ETC. 

Xo. 3. — For etching brands and marks on polished 

steel surface?, such 3, knife-blades and tools, where 

there are many pieces to be done alike, procure a rubber 

stamp with the required design made bo that the letters 
and figure that are to be bitten by the acid shall be de- 
pressed in the stamp. Have a plain border around the 
design, large enough to allow a little border of common 
putty to be laid around the edge of the stamped de- 
sign to receive the acid. For ink, use resin, lard oil, 
turpentine and lamp-black. To 4 oz. of resin put 1 
teaspoonful of lard oil, melt and stir in a tablespoonful 
of lamp-black, thoroughly mix and add enough turpen- 
tine to make it of the consistency of printer's ink when 
cold. Use on the stamp in the same manner as when 
stamping with ink. When the plate is stamped, place a 
little border of common putty around and on the edge of 
the stamped ground. Then pour within the border 
enough acid mixture to cover the figure, and let it stand 
a few minutes, according to the depth required. Then 
pour off the acid. Rinse the surface with clean water, 
take off the putty border and clean off the ink with tur- 
pentine. Use care not to spill the acid over the polished 
part of the article. For the acid use 1 part of nitric 
acid, 1 part of hydrochloric acid and 10 parts of water 
by measure. If the effervescence seems too active, add 
more water. 

liquid for Etching on Glass. 

Xo. 1. — This preparation may be made by mixing 
sulphate of barium and fluoride of ammonium in the 
proportion of 3 parts of the former to 1 part of the 



ETCHING. lo^ 

latter with sufficient sulphuric acid to decompose the 
ammonium and bring the mixture to the consistency of 
thick milk. The mixture should be made in a receptacle 
of lead and kept in a bottle of the same metal or else 
in one of guttapercha, as glass bottles would be eaten 
into holes. Fluoric acid usually etches smooth, while 
other fluoric preparations yield a matt surface. The 
most beautiful ornamentation is obtained w r hen certain 
parts of the glass surface are rendered matt by means 
of fluoride of ammonium which has been slightly acidi- 
fied wdth acetic acid. The matt appearance is not al- 
ways the same with different kinds of glass but varies 
much in beauty. This effect is governed by the compo- 
sition of the glass, lead glasses being easily acted upon 
and furnishing a very fine matt surface. 

Where it is desired to have the surface of the glass 
not altogether matt, but shining like ice, as in the case 
of window glass, this may be obtained by placing the 
glass plate in a perfectly horizontal position and cover- 
ing it with fine groats. Then very dilute fluoric acid is 
poured upon it. The groats act as a shield and pro- 
duce upon the glass raised points. 

Etching Photographs on Glass. 

There are several means of doing this. A good re- 
sult may be secured by covering the surface with a solu- 
tion of gum made sensitive with bichromate of potash, 
and printing the same under a negative. After the 
image is thus produced it is dusted over with minium 
or red lead and the red picture thus obtained is fixed 
and burnt in in the usual way. The easily soluble lvd 



134 DECORATION OF METAL, WOOD, GLASS, ETC. 

glass so obtained is treated with strong sulphuric acid, 
when a white matt design is produced and the picture 

appears by transmitted light as a positive. 

Etching Films for Tracing With a Needle. 

There are many purposes for which an opaque film 
capable of being etched with a sharp point might be 
useful. Such a film can be obtained by use of the fol- 
lowing formula : -J- oz. of negative collodion, 6 drachms 
of ether, 6 drachms of alcohol, 30 grains of shellac, 2 
grains of aurine, 30 drops of Jackson's mauve dye and 
30 drops of water. 

Grounds for Etching. 
Xo. 1. 

30 oz. of white wax ; 
30 oz. of mastic resin, 
15 oz. of asphaltum. 
Xo. 2. 

30 oz. of white wax, 
15 oz. of mastic resin, 
15 oz. of asphaltum. 
Xo. 3. 

6 oz. of white wax, 
3 oz. of mastic resin, 
6 oz. of asphaltum. 
Xo. 4. 

3 oz. of white wax, 
1 oz. of black pitch, 

4 oz. of asphaltum, 
1 «>z. of resin, 



ETCHING. 



135 



No. 5. 

2 oz. of white wax, 
■J oz. of black pitch, 
^ oz. of Burgundy pitch. 
JVIelt together, and add by degrees 2 oz. of asphaltum 
and boil till a drop taken out on a plate will break when 
cold by being bent double two or three times. Pour into 
warm water and make into small balls. 
No. 6. 

4 oz. of soft linseed oil, 
•J oz. of gum benzoin, 
■J oz. of white wax. 
Boil down to two-thirds. 

To Etch on Ivory. 

Use dilute sulphuric acid and hydrochloric acid 
mixed. 

To Etch on Silver. 

Proceed as for copper or brass, but great care must 
be used in preparing a proper ground and in stopping 
out. 

To Mark Tools With a Name. 

Coat the surface of the tool with a layer of wax or 
hard tallow by heating the tool, applying the wax and 
allowing the tool to cool. When the wax is hard write 
the name in with a pointed instrument so that each 
stroke penetrates to the surface of the steel. Then 
pour some nitric acid over the waxed surface, let it 
Mand a short time, and after washing off the acid with 



136 DECOKATIOX OF METAL, WOOD, GLASS, ETC. 

water, heat the metal until the wax melts and then wipe 
it dry. Then the name will appear engraven in the 
steel. 

To Etch on Steel. 
No. 1. 

2 oz. of sulphate of copper, 
\ oz. of alum, 

\ oz. of salt, 
mixed with 

5 oz. of vinegar, 
49 drops of nitric acid. 
This preparation is used for frosting the steel. 

No. 2. 

4 oz. of glacial acetic acid, 
1 oz. of absolute alcohol, 

1 oz. of nitric acid (sp. gr. 1.280). 
Allow the acid and alcohol to remain for half an 
hour, then add the nitric acid very carefully. Etch 
from one to fifteen minutes. 

No. 3. 

3 oz. of alcohol, 

5 oz. of water, distilled, 
8 oz. of nitric acid, 

8 oz. of silver nitrate. 
AVash the steel plate with very dilute nitric acid, then 
apply the solution for three minutes and wash with 6% 
solution of alcohol. Repeat if required, 









ETCHING. 137 

No. 4. — For vertical bite. 

2 oz. of silver acetate, 
125 oz. of water, distilled, 
125 oz. of rectified spirits, 
65 oz. of nitric acid, 
16 oz. of nitric ether. 
See No. 4 copper plate etching, above. 

No. 5. 

4 oz. of iodine, 

10 oz. of potassic iodide, 

SO oz. of water. 
This is very highly recommended. 

No. 6. — Use No. 3 copper etching, above. 

No. 7. 

62 parts of nitric acid, 
125 parts of water, 
187 parts of alcohol, 

8 parts of copper nitrate. 

No. 8. — Cover the surface with a fine coat of asphal- 
tum varnish of fine quality, then cut the design through 
to the surface of the steel and etch with a weak solution 
of nitric acid in water. Finally wash with hot water 
and remove the asphaltum with hot turpentine. 

No. 9. — For steel. 

1-J- oz. of iodine, 

f drachm of iron filings, 
6 oz. of water. 
Digest until the iron is dissolved. For fine touches 
take 6 parts each of verdigris, sea-salt and salanuuoniac, 



138 DECORATION OF METAL,, WOOD, GLASS, ETC. 

Dissolve in 12 parts of vinegar, add 23 parts of water, 

boil a minute and allow to eooL 

No. 10. — Clean the steel and cover evenly with wax; 
cut the lines with a steel point through the wax and pour 
on the following etching fluid : 

4 oz. of pyroligneous acid, 
1 oz. of alcohol, 

1 oz. of nitric acid, by measure. 
Or else use: 

1 oz. of iodine, 
4 oz. of water. 
J drachm of iron filings. 

The fluid is removed as soon as the metal is sufficiently 
etched. 



Zincographic Etching. 

Xo. 1. — The solution most commonly employed for 
this purpose is as follows: 4 oz. of Aleppo galls are 
bruised and steeped in 3 quarts of cold water for twenty- 
four hours. The water and galls are then boiled up 
together and the decoction strained. The gall water 
should be about the consistency of cream. One quart of 
the decoction of galls is added to 3 quarts of gum water 
and to the mixture is added about 3 oz. of phosphoric 
acid, which is prepared by placing sticks of phosphorus 
in a loosely -corked bottle of water so that the end- 
the sticks may be uncovered. The oxidation of the pk<:>s- 
phorus produci - >ric acid which di-solves as 

fast as it is formed. The etching solution should only 
just mark a piece of zinc, 



ETCHIKG. 139 

No. 2. 

15 fluid oz. of decoction of gallnuts, 
5 fluid oz. of gum water as thick as cream, 
3 drachms of phosphoric acid solution. 
Boil 1^ oz. of nutgalls, bruised, in 1 pint of water 
till reduced to one-third. Strain and add 2 drachms of 
nitric and 4 drops of acetic acids. 

No. 3. 

40 oz. of gum arabic, 

2 oz. of sulphate of copper, 

5 oz. of gallic acid, 

•J oz. of nitric acid ; 

1,000 oz. of water. 

No. 4. 

100 grains of water, 
15 grains of gum arabic, 
2 drops of nitric or 4 to 5 drops of hydrochloric 
acid, 
10 drops of solution of gallnuts. 

No. 5. — Boil about 1^ oz. of bruised gallnuts in a 
pint of water till reduced to -J, filter and add 2 drops 
of nitric acid and 3 to 4 drops of hydrochloric acid. 
For very fine work, this may be weakened with water. 
It is applied for about a minute, then washed off and 
the plate gummed. In biting zinc plates in relief, the 
acid generally used is nitric of different degrees of 
strength, according to the nature and state of the plate. 

No. 6. — One authority recommends for the first re- 
lief etching, 30 to 40 drops of nitric acid to 100 grams 



140 DECORATION OF METAL, WOOD, GLASS, ETC. 

of water, applied for five minutes. For each subse- 
quent etching, S to 10 drops of acid are added for each 
100 grams of water and the time is increased by de- 
grees from five to fifteen minutes. For the final etching 
of the broad lights he uses: 

4 parts of hydrochloric acid, 
1 part of nitric acid, 
16 parts of water. 

To soften down the ridges between the lines, the 
plate is inked, dusted as before and etched with diluted 
nitric acid at 5%, applied for about a minute, and 
the inking, dusting and etching repeated as often as 
may be necessary. 

Xo. 7. — According to another authority, the first 
two bitings are given with 1 part of nitric acid to 40 
parts of water, the first biting lasting two minutes, the 
second four to five minutes. The acid is made stronger 
for each successive biting. 

Xo. 8. — Another authority gives a first biting with 
nitric acid at 2 % for two or three minutes, adding about 
the same quantity of acid for five successive bitings, 
gradually increasing the time. After the first five bit- 
ings, the plate is thoroughly cleaned, strongly heated, 
well inked again with a harder ink, and rebitten with 
acid as strong as the last used. The operation is re- 
peated for four more bitings, using less heat and biting 
less and less each time. These bitings are for smoothing 
off the edges of the lines. 

Xo. 9. — Abney gives the following process: Having 
made the transfer in the usual way and dusted it with - 
resin, flood the surface of the zinc plate with a 10 grain 



ETCHING. 141 

solution of sulphate of copper, which precipitates copper 
on the uncovered parts and forms a copper-zinc couple. 
It can then be etched with very dilute acid, such as 1 
part of hydrochloric acid in 100 to 750 parts of water. 
This is contained in a rocking trough kept constantly 
in motion. The first etching takes about twenty min- 
utes. The plate is then washed and inked, dusted and 
coppered again and then etched with acid twice as 
strong, the operation being repeated as often as may be 
necessary. 

JSTo. 10. — Deep Etching. — For simple etching on zinc, 
lladden recommends 1 part of nitric acid to 3 of water, 
or 

10 parts of hydrochloric acid, 

2 parts of chlorate of potash, 
88 parts of water. 
Dissolve the chlorate of potash in half the water (boil- 
ing) and mix the acid with the remainder. The two 
solutions are added together for use. 

No. 11. 

2 parts of sulphate of copper, 
8 parts of hydrochloric acid. 

Frosting of Cutlery, Etc. 

This is accomplished by etching the surface with 
acid. The articles are first heated to about 212° F., 
then a thin coat of beeswax is melted over the surface. 
When this is cool the design is scratched through with 
a needle. The acid is then poured on the design, being 
prevented from falling off by a little wall of wax built 



142 DECORATION OF METAL. WOOD, GLASS. ETC. 

:nd th* bloric acid does very - 

etching. The time required for the operation is 
best found by a little practice, as the fine lines take 
more time to etch than is required for the coarse o: 
<n it is decided that the etching is complete, thor- 
_ t the acid with clean, c 

water and then with a little benzine remove the wax, and 
polish with clean, diy chamois leather. 



Decorative Process of Damaskeening. 

The . he surface oi steel and 

-mall arms. etc.. and also the plain brown or 
black surface of modern steel guns, is known as "dam - 
keening." and is produ reatment with weak ae 

which act unequally upon the different parts of the 
metal under treatment, the harder portions of the metal 
becoming c vith a thicker film of carbon than the 

- ftei portions. The : these fib j from 

bt brown to black, according to the more or less pro- 
longed treatment with the acids. I: he figuration is i 

Bciently elaborate, owing to the metal not having suf- 
ficient fibre and the fibre being toe ~ ight and regular 
♦roduce the desii Sect, i: is customary for the 

raa. ing-pieces and other light goods to paint 

pattern on the surface of the metal with the 
acid, and in this way th n can be made 

effectiv a sired. The solutions largely used at many 
.. ws: 
1. — For steel: 1 sulphur, 1 oz. of tincture 

nitric a: t sulphuric aci 



ETCHING. 



143 



oz. of mercuric chloric! e, \ oz. of copper sulphate, 1 oz. 
of spirit of nitrous ether and 1 quart of water. 

No. 2. — For iron: \ oz. of tincture of iron, \\ 
drachms of nitric acid, 1 drachm of mercuric chloride, 
\ drachm of copper sulphate, 6 drachms of spirits of 
wine and 8 oz. of water. 

No. 3. — The solution used at Woolwich and Elswick 
for steel guns, etc., is 2 oz. of tincture of iron, 1 oz. of 
nitric acid, 1 oz. of copper sulphate, 1^ oz. of spirits of 
nitrous ether, \\ oz. of spirits of wine and 1 gallon of 
water. This is a much better solution and works re- 
markably well. It is smeared over the parts, and, when 
dry, another coat is put on. This will produce a brown 
color; but if it is not dark enough, the operation must 
be repeated until the desired tint is obtained. Six coats 
are sufficient to make the surface black. The acid is 
then "killed" by washing with soda solution, and the 
surface rubbed with a hard brush or file card until 
smooth, after which it is rubbed with oily waste. For 
iron, there is nothing better than mercuric chloride or 
antimony chloride, dissolved in water, with a little 
spirits of wine added to keep it dry. 



SILVEE. 

Pickle for Frosting 1 and Whitening of Silver Articles. 

Mix 1 part of sulphuric acid with 4 parts of water. 
Heat this fluid and steep the article in it until frosted as 
desired. Wash well, dry with a soft linen cloth or in 
fine sawdust. For whitening only, use less acid. 

An Old Method for Whitening Silver. 

Dip the work in a thick solution of borax, then place 
it in a copper annealing pan, sprinkle it over with char- 
coal dust and place the pan and its contents upon a 
clear fire. Heat until redhot, then withdraw and allow 
to cool. The work is then boiled in dilute sulphuric 
acid and if the right color is not obtained, the process 
is repeated one or more times. The lower standards re- 
quire five or six operations to effect the proper degree 
of whiteness. 

Dip the silver article in a mixture of -i parts of pow- 
dered charcoal and 1 part of nitrate of potash, well 
mixed with water. The work is then heated until the 
coating is thoroughly dry, when it is removed from the 
fire, allowed to cool, and boiled in a solution of bisul- 
phate of potash. After two or three operations, a beau- 
tiful dead-white color is the result. It is then washed 
in soda and water containing a little soap or scratched 

144 






SILVER. 145 

and burnished if required bright. The process is com- 
pleted by drying in warm boxwood sawdust. 

Gee's method of whitening silver consists of making 
the work red hot and boiling in dilute sulphuric acid (1 
part of acid to 40 parts of water). The process is re- 
peated, if necessary, until the requisite color is obtained. 
This method is not suitable for very common work 
which requires a thin deposit of pure silver by the elec- 
trolytic method or by chemical decomposition of cer- 
tain silver salts applied in the form of a paste, instead 
of subjecting it to the above whitening process. The 
articles may also be dipped in solutions containing silver 
when silver is deposited on their surface. This is 
termed a simple immersion process. 

To Burnish Silver. 

Remove all dirt with powdered pumice stone, then 
brush all parts with strong soap suds, wipe with a linen 
cloth and burnish. Use soap water as a lubricant. 

To Produce a Dead White on Silver Articles. 
The article should be heated to a cherry red or dull 
red, allowed to cool, then placed in a pickle of 2^ parts 
of sulphuric acid to 50 parts of water. Let it remain in 
this pickle one to two hours. If the surface is not 
right, rinse and repeat the operation. When whitened 
enough, remove from the pickle, rinse well in hot water, 
and dry in warm boxwood sawdust. 

To Frost Polished Silver. 
Make a solution of -J oz. of cyanide of potassium in 5 
fluid oz. of water and apply this fluid to the silver with 



146 DECOEATIOX OF METAL, WOOD, GLASS, ETC. 

a brush. Hold the silver with pliers made of lancewood 
or boxwood. This solution is very poisonous. 

To Produce a Pink Tint on Silver. 
Dip the eleansed article for a few seconds in a strong 
hot solution of chloride of copper, then rinse and dry it 
or dip it in 90% alcohol and ignite the spirit. 

To Platinize Silver. 
Place some platinum in a small quantity of aqua 
regia or nitro-hydrochloric acid and keep it in a warm 
place for a few days, when it will have dissolved. As 
soon as it has dissolved, evaporate the liquid at a gentle 
heat until it is as thick as honey, so as to get rid of the 
excess of the nitric and hydrochloric acids. Add a little 
warm water and it is ready for use. A dozen drops of 
this solution go a long way in platinizing silver. The 
operation is performed in a small glass or beaker covered 
with a watch-glass to keep in the fumes and placed in a 
little sand in a saucer to equalize the heat. 

To Preserve Silverware. 
This may be done by coating the articles (warmed) 
with a solution of collodion diluted with alcohol. 

To Produce a Dead Lustre on Silver. 
Mix 7 oz. of white lead and 1 oz. of white litharge 
with linseed oil varnish. Mix this mass with an oil 
varnish. 

To Make a Silver Tree. 
Dissolve 2 drachms of nitrate of silver in 5 fluid oz. 
of water that has been boiled and filtered and place this 



SILVER. 147 

solution in a warm place where it will not be disturbed. 
Then pour in 1 drachm of mercury (quicksilver). In 
a short time the silver will be precipitated in the most 
beautiful arborescent form, resembling real vegetation. 
The vessel in which the mixture is made should be a 
clear glass jar fitted with a cover. This silver tree forms 
an effective ornament. 



THE DECORATIVE TREATMENT OF BOOKS. 

To Gild the Edges of Books. 

To gild the edges, the book should be put into the 
press straight and on a level with the cheeks of the 
press between cutting boards, the boards of the book 
being thrown back. The press should be screwed up 
very tightly, and any projection of the cutting boards 
should be taken away with a chisel. If the paper is 
unsized or at all spongy, the edge should be sized and 
left to dry. This may be ascertained by wetting a leaf 
of the paper ; if spongy the moisture will sink through 
as if it were blotting-paper. The edge should be scraped 
quite flat and perfectly even, care being taken to scrape 
every part equally, or one part of the edge will be hollow 
or perhaps one side scraped down, and this will make 
one square larger than the other. When scraped quite 
smooth and evenly, a mixture of blacklead and glair 
water is painted over the edge and with a hard brush it 
is well brushed until dry. 

The gold is now cut on the gold cushion. Lift a leaf 
out of the book with the gold knife, lay it on the gold 
cushion and breathe gently on it to the centre of the 
leaf to lay it flat. It can be cut with ease to any size. 
The edge is then glaired evenly, and the gold is taken 
up with a piece of paper previously greased by drawing 

148 



THE DECOBATTVE TEEATMENT OP BOOKS. 149 

it over the head. The edge is then gently laid on the 
edge which has been glaired. The whole edge or end 
being done, it is allowed to get perfectly dry, which 
will occupy two hours. 

Before using the burnisher on the gold itself, some 
gilders lay a piece of fine paper on the gold and gently 
flatten it with the burnisher. Books are often treated 
in this manner ; they then become dull gilt. When in- 
tended to be bright, a waxed cloth should be gently 
rubbed over the surface two or three times before using 
the burnisher. The beauty of burnishing depends upon 
the edge presenting a solid and uniform metallic surface 
without any marks of the burnisher. 

Process of Gilding Books. 

White of egg beaten up is the ordinary sticking mate- 
rial used by binders to put the gold leaf on. The leather 
back of the book is varnished with it and when dry a 
strip of gold leaf is put on the place where the letters 
or ornaments are to be placed. The letters used are 
common printing types; they must be new, however, 
and not have been used with printing ink. They are 
heated a little above the boiling point of water, which 
is easily tried with a wet finger, and then they are 
pressed on the gold leaf for a few minutes only, when 
the heating of the albumen or white of egg under it 
fixes it to the leather of the book. The ornamental 
figures are commonly made of brass and manufactured 
for the use of bookbinders. The type is screwed in an 
appropriate brass or iron holder with a wooden handle. 
The back of a well-bound book being always round, the 



150 DECORATION OF METAL, WOOD, GLASS, ETC. 

proper way of putting on gilded letters and ornaments 
requires a certain way of manipulation which it is best 
to acquire by visiting a few good bookbinders' shops in 
the city, to see the operation. Use your eyes properly 
to get all little details. The sides of books being flat, it 
is best to put the letters and ornaments under a press. 
The type is put up in a proper form, heated, put under 
the press, with the varnished side of the book covered 
with gold leaf on the right place and the press screwed 
down. Sometimes the binder puts the strips of gold leaf 
on the face of the type in place of on the book. This 
is equally good and under certain circumstances prefer- 
able. 

Gilding on Calf and Sheepskins. 

Wet the leather with white of eggs. When dry, rub 
it with your hand and a little olive oil, then put the 
gold leaf on and apply the hot iron to it. Whatever 
the hot iron shall not have touched will go off by brush- 
ing. 

To Gild the Edges of Cards. 

Obtain an extremely thin leaf of gold. Put the cards 
together so that the edges are perfectly even. Then 
place in a press with the exposed edge upwards. Coat 
the edge with a mixture of red chalk and water. The 
gold is blown out from small books and spread on a 
leather cushion where it is cut to the proper size by a 
smooth-edged knife. A camel's-hair pencil is dipped 
into white of egg mixed with water and with this the 
partially dry edge is moistened. The gold is then taken 
up on a tip of a brush and applied to the moistened 
edge to which it instantly adheres. 



THE DECORATIVE TREATMENT OF BOOKS. 151 

When all the four edges have been gilded in this way 
and allowed to remain a very few minutes, take a bur- 
nisher formed of a very smooth piece of hard stone 
(usually bloodstone) and rub the gold very forcibly, 
which gives the gold a high degree of polish. To silver 
edges, take a brush, dip it in a saturated solution of gal- 
lic acid and wash the edges, then dip the brush into the 
solution composed of 2 parts of nitrate of silver to 1,000 
parts of distilled water. Keep on alternately with these 
solutions until the edges assume a brilliant tint. Then 
wash with distilled water and dry by free air and heat. 

A composition for gilding cards consists of 4 parts 
of Armenian bole and 1 part of candied sugar, ground 
together with water to a proper consistence, and laid on 
with the white of an egg. This coating, when nearly 
dry, is smoothed by the burnisher. It is then slightly 
dipped in clean water and squeezed in the hand, after 
which gold leaf is applied. 

To Gild Cotton. 

Spread a coat of glue-water on the cotton, then dry 
and afterwards coat with a thick solution of parchment 
size and again dry thoroughly. 

To Gild Ivory. 

Put the ivory into a solution of sulphate of iron and 
then into a solution of nitro-chloride of gold. On heat- 
ing the ivory the mercury will be driven off and the 
iron will be gilded. 



152 DECOEATION OF METAL, WOOD, GLASS, ETC. 

To Gild Letters on Marble. 
First apply a coating of size, then successively apply 
several coats of size thickened with whiting until a 
good face is produced. Let each coat dry and rub it 
down with a fine glass-paper before applying the next. 
Then go over the marble thinly and evenly with gold 
size. Apply the gold leaf and polish with an agate bur- 
nisher. The gold leaf must be applied several times to 
give a good effect. 



DECORATING CHINA, GLASS, AND METALS. 



Process of Common Gilding on China. 

The gilding is either done by an adhesive varnish or 
by heat. This varnish is prepared by dissolving in hot 
boiled linseed oil an equal weight of either amber or 
copal resin. This is diluted with a proper quantity of 
oil of turpentine so as to be applied as thin as possible 
to the parts to be gilt. Let them stand after varnishing 
about twenty-four hours, then heat in an oven until so 
warm as almost to burn the fingers when handled. The 
heat softens the varnish which is then ready to receive 
the gold leaf, which may be applied with a brush or 
tuft of cotton-wool, and the superfluous portions brushed 
off. Burnish when cold, interposing a piece of paper 
between the gold and the burnisher. Where "burning 
in" is practiced, the gold, reduced to powder, is mixed 
with powdered borax, moistened with a little gum 
water and applied to the clean surface with a camel's- 
hair pencil. When quite dry, the article is put into a 
stove heated to about the temperature of an annealing 
oven. The gum burns off and the borax, by vitrifying, 
cements the gold with great firmness to the surface. 

153 



154: DECOKATIOX OF }IETAL, WOOD, GLASS, ETC. 

Method of Preparing Gold Lustre for China Painting. 

Dissolve 1 drachm of gold in f oz. of aqua regia (this 
is a mixture of hydrochloric acid and nitric acid). 
Or else put this weight of gold in water, add 6 grains 
of metallic tin and sufficient aqua regia to dissolve it. 
Pour this with constant stirring into a mixture of 4 
drachm of balsam of sulphur, and 20 grains of oil of 
turpentine. As it stiffens, add \ drachm more of oil of 
turpentine and mix. More gold gives a brighter effect ; 
tin inclines it to a violet tinge. Balsam of sulphur is 
made by boiling together in a covered vessel, 1 part of 
flowers of sulphur and 4 parts of oil of turpentine until 
the mass thickens. 

Process of Gilding Glass. 
Xo. 1. — Thoroughly clean the glass, then take some 
very weak isinglass size and while warm, float the glass 
where you intend the gold to be laid on with a gilder's 
tip, previously drawing it over the hair of your head to 
cause the gold to adhere to it. Tilt the glass aside 
to allow the superfluous size to run away, then let it 
dry and if it does not look sufficiently solid upon the 
face, give another layer of gold the same way. Where 
the black lines are to show, take a piece of pointed fire- 
wood, cut it to the width the lines are needed and with 
a straight edge draw a line with a piece of wood, which 
if made true and smooth, will take the gold off clean 
and so square and sharpen up all the edges, lines, etc. 
When this is done, give a coat of Brunswick black 
thinned with a little turpentine, and the lines will show 



DECORATING CHINA, GLASS, AND METALS. 155 

black and it will preserve the gold. Try a small piece 
first so as to get all in order. 

"No. 2. — The proper flux is anhydrous borax ; the real 
gilding is effected by the aid of heat. For this purpose 
a solution of gold in aqua regia (chloride of gold) is 
precipitated by potash or green vitriol — a finely divided 
powder (brown) consisting of metallic gold. This is 
washed, dried and rubbed up with the flux (anhydrous 
borax). Mix the same with oil of turpentine or gum 
water and apply with a brush. "When heated in the 
muffle, the volatile oil escapes, the gum is consumed and 
the borax melts and firmly attaches the gold to the sur- 
face of the vessel. 

'No. 3. — Two grains of isinglass, 2 parts of new 
rum, 3 parts of water. Put the water and isinglass 
into a clean pan and let them simmer over the fire for 
about an hour, add the rum when taken off the fire, then 
let it cool, clean the glass, pour on the liquid, gild with 
earner s-hair tip, set the glass upon its edge. The liquid 
will run from beneath the gold and in less than twenty 
minutes you will have a burnished plate. When dry, 
rub lightly with fine cotton and if there are any spots 
not gilded, gild them. Draw your design on paper, per- 
forate your lines with a needle, put your paper next the 
gilded side, with the reading the wrong way, dust 
through the holes with a rag and whiting, lift off the 
paper and you will find your design marked off. If 
you wish the letters left clear black, cut around the 
letters with yellow, paint all over but the letters, wash 
off the gold with water, then paint all over black. If 



150 DECORATION OF METAL, WOOD,, GLASS, ETC. 

you want the letter? gold, paint the letters yellow and 
wash off the surplus gold, then paint all over black. 

Embossing and Gilding on Glass. 

There are two ways of embossing glass: by means of 
hydrofluoric acid and by the sandblast. The Becond 
method being rather beyond the power of amateur-. [ 
bhall not describe it here. In the hydrofluoric acid pro- 
is firs with Borne protecting sub- 
stance and upon this the design is drawn with a sharp 
instrument po as to expose the glass below. The acid is 
then applied, when the exposed portion of the glass be- 
comes corroded. The wax can afterwards be remove-!. 
In practice the glass should be warmed and coated with 
molten beeswax, not paraffin — which is too brittle. Su- 
perfluous wax should be drawn off so as to leave as 
thin a coating as possible. Or a composition may be 
used, formed by melting together 2 parts of beeswax, 
2 parts of asphaltum, 1 part of black pitch, and 1 part 
of Burgundy pitch. Heat them together until a drop 
placed upon a cool surface gets hard and tough. What- 
ever the protecting substance used, it should be per- 
mitted to set and the design should then be traced with 
some pointed instrument, care being taken to cut ri_ 
down to the glass. If the design is complicated, it 
would be found better to trace it first on paper and then 
to go over the lines with a pricker. The paper can 
then be placed upon the wax and some dark-colored 
powder dusted upon the holes. On removing the paper, 
the outline of the design will be found marked on the 
surface of the wax. It will then be easy to cut away 



DECORATING CHINA, CLASS, AND METALS. 15*? 

the wax at the desired places. A shallow tray of gutta- 
percha or of sheet lead must then be taken and into it 
be placed about half an inch of the dilute hydrofluoric 
acid of commerce. The glass must then be placed wax- 
side down over the tray and left exposed to the vapor 
for some time. On removing it, washing with water and 
cleaning off the wax, the design will be found etched in 
opaque lines upon a bright ground. If bright upon an 
opaque ground is required, the waxed glass, instead of 
being exposed to the vapor of the acid, should be dipped 
into the acid itself. After the removal of the wax, the 
surface of the glass should be ground with emery in a 
very fine powder. 

Other processes are to draw the design on the glass 
with a pencil and Brunswick black, using as a guide a 
sketch on paper placed beneath the glass. On expo- 
sure to the acid vapor, the whole background will be 
rendered opaque. The Brunswick black can be cleaned 
off with turpentine, leaving the design in clear glass. 

Instead of Brunswick black, an ink may be used, 
made by dissolving asphaltum in turpentine and thick- 
ening with beeswax and resin. 

Where it is desired to produce an artistic effect by 
the introduction of shading, recourse may be had to 
Gruene's process, wherein the wax or Brunswick black 
is replaced by substances not altogether impervious to 
the action of the acid. The design is drawn with oil 
varnish, greasy printing inks or some such substance 
(using a good protector for the high lights and a bad 
protector for the deep shades), and is then dusted over 
with finely-powdered metal, copal, etc. When dry, the 



158 DECORATION OF METAL, WOOD, GLASS, ETC. 

glass is dipped into hydrofluoric acid and afterwards 
washed. If care is taken in the selection of the pro- 
tecting materials, it is possible for an artistic workman 
to obtain very striking results. 

Gilding on glass may be done with bronze powder or 
gold leaf. 

If the powder is to be used, the design should be 
traced on the wrong side of the glass with japan gold 
size, thinly laid on, and which is afterwards dusted over 
with bronze powder. When dry, a coat of varnish is 
laid on. In tracing the design, it must not be forgotten 
that the wrong side of the glass is being worked at, and 
that when viewed from the front everything will appear 
twisted around — the right being to the left, and the 
left to the right. To gild with leaf, the glass must be 
carefully cleaned and laid upon the design. Then a so- 
lution of isinglass is put on by the aid of a flat camel's- 
hair brush. While still wet, gold leaf is laid on with a 
gilder's tip (for the sake of economy, adhering to the 
design as near as possible). When quite dry, the design, 
the outline of which has been pricked out as before de- 
scribed, is taken and placed upon the gold. Dark-colored 
powder is then sprinkled on as before. The paper is 
next removed and the outline carefully gone over with 
Brunswick black. The superfluous gold is cleaned away 
by the aid of a sharp, narrow chisel. The size is made 
by dissolving J oz. of isinglass in a sufficiency of water, 
adding £ pint of rectified spirits and making up to ^ 
pint of water. 

A somewhat simpler process of gilding glass is the , 
following: Dissolve a piece of gelatine, the size of a 



DECOHATMG CHINA, GLASS, AND METALS. 159 

crown piece or a dollar, in \ pint of very hot water. 
When cooled ; apply this size with a flat camel's-hair 
brush two to three inches wide, to the glass, previously 
freed from all traces of grease by washing with alcohol. 
Apply the gold leaf, cut to the size of letters desired, 
with a gilder's brush, rubbing the brush on the hair 
while the size is wet. In presenting the gold leaf to the 
sized surface, do not touch the glass with the brush qt 
gold — bring the gold leaf within \ inch of the surface, 
when it will be found that the leaf leaves the brush and 
attaches itself to the sized surface (owing to the elec- 
trical condition of the brush). Spread the leaf evenly, 
give it a second coating of the size, outline with as- 
phaltum varnish and fill up the letters with the same. 
When all is dry, rub off the superfluous gold with cotton- 
wool. 

To Dissolve Gold for Gilding on China Which Has to Be 

"Fired." 

Rub up in a mortar some gold leaf and honey until 
reduced very fine. Then dissolve the honey with hot 
water and mix with a little gum water for use, or else 
dissolve gold in hot aqua regia, evaporate to dryness in a 
porcelain dish and dissolve in ether for use. 

To Gild on Granite. 

Apply a coat of size and then two or three coats of 
size and finely-powdered whiting. Let each coat dry and 
rub down with fine glass paper before the next is ap- 
plied, then go over it thinly and evenly with gold size 
and apply the gold leaf. 



1G0 DECORATION OF METAL, WOOD, GLASS, ETC 

To Prepare Powdered Gold. 

This is called "divided gold/' "gilding powder/' 
u gold bronze/' "gold color/' "auri pulvis/' etc. Make 
an amalgam by mixing 1 part of gold and 7 parts of 
mercury and expose it to heat until the mercury is 
volatilized (or the mercury may be dissolved out with 
hot nitric acid). In either case, the residuum is to be 
powdered, washed and dried. If the quantity of the 
amalgam operated on is considerable, the process should 
be so conducted as to save the mercury. 

To Gild Iron. 

Rub the surface of the iron with sodium amalgam, 
then apply a strong solution of chloride of gold. On 
heating, mercury will be driven off and the iron will be 
gilded. 

To Gild Metals with Gold Leaf. 

Articles of steel are heated until they acquire a bluish 
color, and iron or copper are heated to the same degree. 
The first coating of gold leaf is now applied. It must 
be gently pressed down with a burnisher and again ex- 
posed to gentle heat. The second leaf is then applied 
in the same way, followed by a third and so on, or two 
leaves may be applied instead of one, but the last leaf 
should be burnished down while the article is cold. 

To Burnish Gold Leaf. 

The burnishers used by the frame-makers are either 
of flint or agate, generally the former. They are made 



DECORATING CHINA, GLASS, AND METALS. 161 

of various sizes and shapes to suit the work. These 
are passed lightly over the gilded and dry work. Frame 
work requires much practical dry work until properly 
burnished. It is then usually given a thin coat of very 
weak size. It requires experience to do the work 
properly. 

To Make Silver Leaf Look Like Gold. 

The solution employed is a lacquer made by dissolv- 
ing fine pale shellac in alcohol and coloring with tur- 
meric and dragon's blood. 

To Give a Gold Color to Etruscan Ware. 

Dissolve in sufficient water, 1 oz. of alum, 1 oz. of fine 
table salt and 2 oz. of nitrate of potash. Then add suffi- 
cient hydrochloric acid to produce the color desired. 
After coloring, wash in soft water, then in alcohol and 
dry in clean sawdust. 

Method of Brightening or Coloring Inferior Qualities of 

Gold. 
This operation consists of imparting a color to gold 
articles after every other process has been completed. 
Its object is to give to alloyed gold all the appearance of 
fine gold itself, by dissolving out the base metal from the 
surface of the articles and leaving a facing of a deep, 
rich color. Two distinct modes of coloring are adopted 
by jewelers and are termed respectively dry coloring 
and wet coloring. The latter is most frequently prac- 
ticed, as the former cannot well be gold inferior to 18 
karat quality. 



162 DECORATION OF METAL, WOOD, GLASS, ETC. 

Wet Coloring. 

The ingredients of the mixture employed in this 
process have a powerful solvent action on the metal 
with which the gold is alloyed and a weaker action on 
the gold itself, so that the article loses weight in direct 
ratio to the length it is submitted to the coloring pro- 
cess and this loss is greater as the gold is lower in quality. 
Gee states that the coloring is hastened and the loss in 
weight reduced to a minimum by using old coloring 
liquid, and he assumes that the dissolved gold is to some 
extent deposited again on the article, because the loss 
in weight of some common qualities of gold was found 
to be very little and the amount of gold recovered from 
the spent coloring liquid very small indeed. This state- 
ment is in accord with the well-known fact that in any 
liquid in which a metal, say copper, is electro-positive 
to the metal in solution, say gold, the latter is deposited 
on the former. Many different mixtures are used for 
coloring gold, some of which will be afterwards given 
in tabular form. The following has been supplied by 
an experienced jeweler, and he has found it to be 
effective : 

12 oz. of potassium nitrate, 
6 oz. of common salt, 
3 oz. of hydrochloric acid. 

The nitrate and salt are pounded to a fine powder 
and placed in a previously warmed crucible about 8 
inches by 7, then stirred with a wooden spoon for a 
minute or two. The acid is then added with about 1 
oz. of boiling Avater and the mass constantly stirred until 









DECOKATING CHINA, GLASS, AND METALS. 1G3 

it boils up to the top of the pot. The work, which has 
been previously cleaned in hot potash or soda solution, 
is then suspended in the coloring liquid by means of a 
silver or platinum wire for about one minute, then 
well swilled in boiling water. A little more water is 
added to the color pot and when the liquid boils up the 
work is again immersed for another minute and swilled 
in boiling water as before. This operation of dipping 
and swilling is repeated several times, the coloring 
liquid being weakened by adding water before each im- 
mersion until the desired appearance is obtained. The 
work is finally washed in hot water and dried in box- 
wood sawdust. The whole process takes five to seven 
minutes. 

The colored work is next scratch-brushed on a lathe 
with a revolving brush made of very fine brass wire and 
having stale beer dropping on it. If the coloring has 
been properly conducted a beautiful rich and dead color 
will be produced. 

Dry Coloring. 

This term is applied to the coloring process when no 
liquids are used as constituents of the liquid. The in- 
gredients used are : 

8 oz. of potassium nitrate, 
4 oz. of common salt, 
3 oz. of alum. 

These substances are ground to a fine powder, well 
mixed and placed in a previously heated blacklead color 
pot of the same dimensions as that described for use in 
wet coloring, but the same pot must not be employed for 
dry coloring as has been used for the wet process. It is 



164 DECORATION OF METAL, WOOD, GLASS, ETC. 

well to get the pot nearly redhot before placing the color 
in it. The mixture must then be constantly stirred with 
an iron rod. It will first boil up as a greenish liquid, 
then solidify and afterward boil up a second time and 
become thoroughly fused, having a brownish-yellow 
color. At this stage the work, which has been previously 
annealed and dipped in dilute aqua-fortis, is dipped in 
the color, being suspended on a platinum wire, the latter 
being preferred, and kept in motion for about a minute 
and a half, then immersed in boiling water containing a 
little aqua-fortis. The immersion and swilling are again 
repeated and the articles will possess a beautiful color. 
They are then washed in hot water containing a little 
potash, and finally dried in warm boxwood sawdust. 

In dry coloring the work should be as highly polished 
as possible previous to the coloring. The brighter it is 
the better will be the final color. The time given above 
is only given as a general guide. Some work will color 
quicker than others and the time can only be arrived at 
by experience. The following mixtures have been 
recommended for coloring: 

Dry Process. 
No. 1. 

8 oz. of nitrate of potash, 
4 oz. of common salt, 
4 oz. of alum. 

:n t o. 2. 

4 oz. of salammoniac, 
4 oz. of nitrate of potash, 
4 oz. of borax. 



DECORATING CHINA, GLASS, AND METALS. 165 

Wet Process. 

Nitrate of potash 8 14 15 14 

Common salt 4 7 7 7 

Alum 4 7 7 — 

Hydrochloric acid — 2 1 5 

Use water in each case. 

The following is a useful mixture for removing tar- 
nish from colored gold articles which have been kept in 
stock for some time : 

1 oz. of bicarbonate of soda, 
1 oz. of chloride of lime, 
1 oz. of common salt, 
16 oz. of water. 
Well mix the above ingredients and apply with a soft 
brush. 

To Impart a Blue or Gray Finish on Optical Instruments. 

The steel-gray or bluish tint upon instruments is 
made by dipping or washing with chloride of platinum 
solution, which is made by dissolving platinum in 2 
parts of hydrochloric acid and 1 part of nitric acid, 
mixed (this forms aqua regia), with as much platinum 
as the quantity of acid you may wish to prepare will 
take up. Use platinum foil, put the whole in a glass 
bottle with a wide mouth, cover loosely and place in a 
warm sand bath or any place where it will be as hot as 
boiling water for a few days, when it will be ready for 
use. As soon as the proper color is produced, wash the 
instrument in water. If the solution is not saturated, 
the brass will turn brown and rough. 



1G6 DECORATION OF METAL, WOOD, GLASS, ETC. 

Methods of Gilding by Amalgam. 

Preparation of the Amalgam. — To prepare the amal- 
gam of gold for the purpose of mercury gilding, a 
weighed quantity of fine or standard gold is first put in 
a crucible and heated to dull redness. The requisite 
quantity of mercury, 8 parts to 1 part of 'gold, is now 
added, and the mixture is stirred with a slightly crooked 
iron rod, the heat being kept up until the gold is en- 
tirely dissolved by the mercury. Pour the amalgam 
into a small dish about 3 parts filled with water and 
work about with the fingers under the water to squeeze 
out as much of the excess of mercury as possible. To 
facilitate this, the dish is slightly inclined to allow 
the superfluous mercury to flow from the mass, which 
soon acquires a pasty condition capable of receiving the 
impression of the fingers. Afterward squeeze the amal- 
gam in a chamois leather bag, by which a further quan- 
tity of mercury is liberated, the amalgam which remains 
after this final treatment consisting of about 33 parts 
of mercury and 57 parts of gold in 100 parts. The 
mercury which is pressed through the bag contains a 
good deal of gold and is employed in preparing fresh 
batches of amalgam. It is important that the mercury 
employed should be pure. 

The Mercurial Solution. — To apply the amalgam, a 
solution of nitrate of mercury is employed, which is 
prepared by dissolving in a glass flask 100 parts of 
mercury in 110 parts of nitric acid of 1.33 specific 
gravity, gentle heat being employed to asist the chem- ' 
ical action, The red fumes which are given off must 



DECORATING CHINA, GLASS, AND METALS. 167 

be allowed to escape into the chimney, since they are 
injurious when inhaled. When the mercury is all dis- 
solved, the solution is to be diluted with about 25 times 
its weight of water and bottled for use. 

Method of Applying the Amalgam. — The pasty amal- 
gam is spread with the blade of a knife upon a hard, 
flat stone; the article, after being well cleaned and 
scratch-brushed, is treated in the following manner: 
Take a piece of small scratch-brush, formed of stout 
brass wire, dip in the solution of nitrate of mercury, 
then draw over the amalgam, pass the brush carefully 
over the surface to be gilded, repeatedly dipping the 
brush in the mercurial solution and drawing it over the 
amalgam until the entire surface is uniformly and suf- 
ficiently coated. Then rinse the article well and dry. 
The next operation is the evaporation of the mercury. 
For this purpose a charcoal fire resting upon a cast- 
iron plate has been generally adopted, a simple hood 
of sheet iron being the only means of protection from 
the injurious effects of the mercurial vapor. When the 
amalgamated article is rinsed and dried, it is exposed 
to the glowing charcoal, turned about and heated by 
degrees to the proper point. It is then withdrawn from 
the fire by means of long pincers or tongs. The article 
is then taken in the left hand (which should be pro- 
tected with a leather glove), turned over the fire in 
every direction, and, while the mercury is volatilizing, 
the article should be struck with a long-haired brush to 
equalize the amalgam coating and force it upon such 
parts as may appear to require it. When the mercury 
has become entirely volatilized, the gilding has a dull 



1G8 DECORATION OF METAL, WOOD, GLASS, ETC. 

greenish- vol low color. The article is then well scratch- 
brushed, when it has a pale greenish color. Heat it 
again to expel any remaining mercury and it acquires 
the orange color of fine gold. If required to be bright, 
it is burnished in the ordinary way. 

Gilding Liquid. 
This liquid is used to impart a rich color to inferior 
gilt articles, such as trinkets, etc. : Dissolve in 5 fluid oz. 
of water: 

1 oz. of chloride of sodium, 

2 oz. of nitrate of potash, 
1 oz. of alum. 

The application of this liquid should not be too long 
continued, as it dissolves a small proportion of the gold. 
For common purposes, it is best diluted with water. 

Mixtures for Gilding Metals. 

The metal employed for gilding is usually brass or 
a mixture of brass and copper. The following alloys 
have been recommended : 

No. 1. — Copper, 6 parts; brass, 1 part. 

No. 2. — Copper, 4 parts; Bristol brass, 1 part. 

No. 3. — Copper, 15 parts; old Bristol brass, 3 parts; 
tin, 14 parts. 

Mixtures Employed in Gilding by Fire or by 
the Wet Process. 

Bed ormolu : 

30 parts of potash alum, 
30 parts of nitrate of potash, 
8 parts of sulphate of zinc, 



DECORATING CHINA, GLASS, AND METALS. 169 

3 parts of common salt, 
28 parts of red ochre, 
1 part of sulphate of iron. 
Add to the mixture a small portion of annatto, 
madder, cochineal, or other coloring matter, ground in 
water or weak vinegar. 
Yellow ormolu : 

17 parts of red ochre, 
50 parts of potash alum, 
10 parts of sulphate of zinc, 

3 parts of common salt, 

20 parts of nitrate of potash. 
Dead Lustre for Jewelry. — Take equal parts of 
sulphate of zinc, sulphate of iron, potash, alum and ni- 
trate of potash. Melt them in their water of crystalliza- 
tion. 

Hard dead lustre for clocks : 
5 parts of water, 
37 parts of nitrate of potash, 
42 parts of potash alum, 
12 parts of common salt, 
4- parts of sulphate of calcium^ 

4 parts of pulverized glass. 
Mix the whole and grind together. 

Soft dead lustre for smooth surfaces and figures: 

5 parts of water, 

46 parts of nitrate of potash, 
46 parts of potash alum, 
3 parts of common salt. 
Follow the same treatment as in the preceding mix- 
ture, 



170 DECORATION OF METAL, WOOD, GLASS, ETC. 

Green for red lustre: 

65 parts of bitartrate of potash, 

25 parts of common salt, 

10 parts of acetate of copper. 
Grind the whole well together. 
Wax for gilding: 

25 parts of oil, 

25 parts of yellow wax, 

13 parts of acetate of copper, 

37 parts of red ochre. 
Melt the whole together and stir until cold. 

Gold Leaves, to Apply to Paper. 
Glair, which is pure albumen, is sometimes used. 
It is made by shaking up the white of an egg with a 
few drops of ammonia and drawing off the clear liquid 
which has subsided on standing. This is painted on 
the lines and by slight heat, as of a hot iron, the leaf 
adheres. Gold size is used on stiff paper or thick gum 
arabic water may be used. The illuminators of to-day 
cannot get as good results as did the workers of the 
middle ages. The old gilding is never equalled now. 

Methods of Oil Gilding. 

This species of gilding may be divided into several 
operations. 

Xo. 1. — The surface is prepared by a coating of 
white lead in drying oil. 

Xo. 2. — Another coating is given. This is made with 
calcined white lead ground in linseed oil and turpen- 
tine. Three or four coats of this mixture are often 



DECOKATING CHINA, GLASS, AND METALS. 171 

given, observing to carefully smooth off each coat with 
pumice or shave grass before the application of the 
following ones. 

No. 3. — The gold paint or color is next applied. It is 
usually very adhesive gold size or the bottom of the pot 
or dish in which painters wash their brushes. For this 
purpose it is thoroughly ground and strained. 

JSTo. 4. — When the gold color begins to partially dry 
and is sufficiently tenacious, the gold leaf is applied 
and pressed on with a wad of cotton-wool or a soft brush. 



LACQUERS AXD JAPANNING. 

Formulae for Lacquers for Metals. 
Lacquers differ from varnishes in the matter of the 
solid constituent, which in the case of lacquers is shellac, 
whereas in varnishes it is resins of various kinds ; more- 
over, the fluid solvent is always alcohol, or methylated 
spirit, but in varnishes it may be either spirit, oil or 
turpentine. A solution of shellac in spirit forms a fluid 
which dries hard quickly and with a gloss and can be 
heated or baked on a surface (japan). The following 
recipes for lacquers are typical of most of them that 
are used for metals. 

The Preliminary Operations in Lacquering Brass. 
Be sure there is no oil or grease on the brass. Do not 
touch the work with the fingers, but hold it with tongs 
or by a tapered stick in some of the holes that may be in 
the piece of work. Always handle with a piece of clean 
cloth. Heat the work so hot that the brush will smoke 
when applied, but avoid overheating, as it burns the 
lacquer. It is well to fasten a small wire across the lac- 
quer cup from side to side to scrape away any superflu- 
ous lacquer. The brush should have the ends of the hairs 
all exactly equal and even. If not so, trim the ends with 
sharp scissors. Scrape the brush as dry as possible on the 
wire, making a flat, smooth point at the same time. 

172 



LACQUERS AND JAPANNING. 173 

Use the very tip of the brush to lacquer with and carry 
it with a steady hand. 

Put on at least two coats. It is well (in order to make 
a durable coating) to blaze off each coat with a spirit 
lamp or Bunsen burner, taking care not to overheat and 
burn the lacquer. If the lacquer is too thick, it will 
look gummy on the work. If too thin, it will show 
prismatic colors. In the first case, add a little alcohol ; 
in the latter case, set the cup on the stove and evaporate 
some of the lacquer to make it thicker. 

A good deal of cheaj) work, like lamp-burners, is 
dipped. Thus : Use a bath of nitric and sulphuric acids, 
equal parts, dip the work, hung on wire into the acid 
for a moment, remove, rinse in cold water thoroughly, 
dip in hot water, remove, put into alcohol, rinse round, 
shaking vigorously on removing to throw off extra 
lacquer and lay on a warm metal plate till dry; let 
cool and it is done. Avoid handling lacquered work 
until it is cold. 

Decorating Metals and Other Materials by Japanning. 

When finished wood, papier-mache, compositions or 
materials are varnished in the usual way and dried in 
the air, the drying is in most cases imperfect, and the 
coating more or less uneven. If the surface thus var- 
nished is heated for some time to a temperature of from 
250 to 300° F. or higher, it is found that the whole of 
the solvent or vehicle of the gums or resins is driven 
off in the varnish and the gummy residue becomes lique- 
fied or semi-liquefied, in which state it adapts itself to 
all inequalities, and, if the coating is thick enough, pre- 



174: DECORATION OF METAL, WOOD, GLASS, ETC. 

sents a uniform glossy surface, which it retains on cool- 
ing. This process of drying out and fusion secures a 
firm contact and adhesion of the gums or resins to the 
surface of the substance varnished, and greatly increases 
the density of the coating, which enables it to resist wear 
and retain its gloss longer. 

This process of hardening and varnishing lacquered 
work by the aid of heat constitutes the chief features of 
the japanner's work. In practice, the work to be ja- 
panned is first thoroughly cleansed and dried. If of 
wood, composition or other porous material, it is given 
while Avarm several coats of wood filler or whiting mixed 
up with a rather thin glue size, and when this is har- 
dened, is rubbed down smooth with pumice stone. It 
is then ready for the japan ground. Metals as a rule 
require no special preparation, receiving the ground 
directly on the clean, dry surface. 

In japanning wood and similar substances, they re- 
quire a much lower degree of heat and usually a longer 
exposure in the oven than metals; and again, a higher 
temperature may be advantageously employed, when 
the japan is dark, than when light-colored grounds 
are used, so that a definite knowledge of just how much 
heat can be safely applied and how long an exposure is 
required with different substances and different grounds 
can only be acquired by practical experience. Large 
japanners seldom make their own varnishes, as they can 
procure them cheaply from the varnish maker. The 
japanner's oven is usually a room or large box con- 
structed of sheet metal and heated by stove drums or 
flues, so that the temperature (which is indicated by a 



LACQUERS AND JAPANNING. 175 

thermometer hung up inside, or with its stove passing 
through the side wall midway between the top and bot- 
tom of the chamber) can be readily regulated by dam- 
pers. The ovens are also provided with a chimney to 
carry off the vapors derived from the flying varnish, a 
small door through which the work can be entered and 
removed and wire shelves and hooks for its support in 
its chamber. The ovens must be kept perfectly dry, free 
from dust, smoke and moisture. A good, cheap priming 
varnish for work to be japanned consists of: 

2 oz. of pale shellac, 

2 oz. of pale resin, 

1 pint of rectified spirit. 

Two or three coats of this is put on the work in a 
warm, dry room. A good black ground is prepared by 
grinding fine ivory black with a sufficient quantity of 
alcoholic shellac varnish on a stone slab with a muller, 
until a perfectly smooth black varnish is obtained. If 
other colors are required the clear varnish is mixed and 
ground with the proper quantity of suitable pigments in 
a similar manner. 

For red, vermilion or Indian red is used ; for green, 
chrome green ; blue, Prussian blue ; yellow, chrome yel- 
low, etc. But black is the hue commonly required. The 
following are good common black grounds : 

No. 1. 

1 lb. of asphaltum, 
1 lb. of balsam of capivi, 
q. s. of oil of turpentine. 
The asphaltum is melted over a fire and the balsam, 



1TG DECORATION OF METAL, WOOD, GLASS, ETC. 

previously heated, is mixed in. The mixture is then 
removed from the fire and mixed with the turpentine. 

ISTo. 2. — Moisten good lampblack with oil of turpen- 
tine and grind it very fine with a muller on a stone slab. 
Then add a sufficient quantity of ordinary copal varnish 
and rub well together. 

No. 3. 

3 oz. of asphaltum, 

4 qts. of boiled oil, 

8 oz. of burnt umber, 
q. s. of oil of turpentine. 
Melt the asphaltum, stir in the oil, previously heated, 
then the umber, and when cooling, thin down with oil 
of turpentine. 

No. 4. — An extra fine black is prepared from: 
12 oz. of umber, 
2 oz. of asphaltum, 
i pint of boiled oil, 
2 oz. of resin, 
16 oz. of oil of turpentine. 
Fuse the gum, resin and asphaltum, add the hot oil, 
stir well together, and when cooling, add the turpen- 
tine. 

A white ground is prepared from copal and zinc 
white or starch. 

From one to six or more coats of varnish are applied 
to the work in japanning, each coat being hardened in 
the oven before the next is put on. The last coat in 
colored work is usually of clear varnish without color- 
ing matter, and is, if fine work, finished with rotten 






LACQUEBS AND JAPANNING. .177 

stone and chamois. For ordinary work, the gloss de- 
veloped in the oven under such conditions is sufficient. 



Japan Finishing. 

The finishing part of japanning lies in laying on and 
polishing the outer coats of varnish, which is necessary 
in all painted or simply ground-colored japan work. 
When brightness and clearness are wanted, the white 
kind of varnish is necessary, for seedlac varnish, which 
is the hardest and most tenacious, imparts a yellow 
tinge. A mixed varnish is the best for the purpose, 
that is, for combining hardness and purity. Take, then, 
8 oz. of seedlac, picked very carefully from all sticks 
and dirt, washing it well with cold water, stirring it up, 
pouring it off and continuing the process until the water 
runs off perfectly clear. Dry the lac, and then reduce 
it to powder and put it into a bottle with 1 pint of al- 
cohol, so as to fill about two-thirds of its space. Shake 
this mixture w r ell and keep the bottle at a gentle heat 
(being corked) until the lac has dissolved. When this 
is the case, pour off the clear fluid and strain the re- 
mainder through a cloth and put the fluid thus obtained 
into a well-stoppered bottle for use. The manner of 
using this seedlac varnish is the same as that before de- 
scribed and a fine polishing varnish is made by mixing 
this with pure white varnish. The pieces of work to 
be varnished for finishing should be placed near a stove 
or in a warm, dry room, and one coat should be per- 
fectly dry before the other is applied. The varnish is 
applied with proper brushes, beginning at the middle, 



ITS DEC0EAT10X OF METAL, WOOD, GLASS, ETC. 

passing the strokes to one end and with the other stroke 
from the middle to the other end. Great skill is required 
in laying on these coats of varnish. If possible, the 
brush should never cross or pass twice over in giving one 
coat. 

When one coat is dry, another must be laid over it, 
and so on successively for a number of coats, so that 
the coating should be sufficiently thick to stand fully all 
the polishing, so as not to bare the coloring of the work. 
AAlien a sufficient number of coats are laid on, the work 
is fit to be polished, which in common cases is com- 
menced with a rag dipped in finely-powdered rotten 
stone. Toward the end of the rubbing a little oil should 
be used along with the powder, and when the work ap- 
pears fine and glossy, a little oil should be used alone 
to clean off the powder and give the work a still brighter 
hue. Pumice ground to a fine powder is used for the 
first part of the polishing, and the finishing done with 
whiting. It is always best to dry the varnish of all 
japan work by heat. For woodwork, heat must be spar- 
ingly used, but for metals the varnish should be dried 
in an oven, also for papier-mache and leather. The 
metal will stand the greatest heat and care must be 
taken not to darken by too high a temperature. When 
gold size is used for gilding for japan work where it 
is desired not to have the gold shine, the gold size should 
be used with a little of the spirits of turpentine and a 
little oil; but when a considerable degree of lustre is 
wanted without burnishing and the preparation neces- 
sary for it, a little of the size along with the oil alone 
should be used. 



LACQUERS AND JAPANNING. 179 

Grounds for Japanning. 

Black, No. 1. — Mix shellac varnish with either ivory 
or lampblack, but the former is preferable. These may 
always be laid on with the shellac varnish and have 
their upper or polishing coats of common seedlac 
varnish. 

No. 2. — A common black japan made by painting a 
piece of work with drying oil and putting the work into 
a stove not too hot, but of such a degree as will change 
the oil black without burning it, gradually raising the 
heat and keeping it up a long time. This requires no 
polishing. 

No. 3. — Asphaltum, -J lb., melt, then add hot balsam 
of capivi, 2 lbs., and when mixed, thin with hot oil 
of turpentine. 

No. 4. — Grind lampblack very smooth on a marble 
slab with turpentine, then add copal varnish to the con- 
sistency desired. 

Black. 
No. 1. 

3 oz. of asphaltum, 

4 qts. of boiled oil, 

8 oz. of burnt umber. 
Mix by heat, and when cooling, thin with turpentine. 

No. 2. 

12 oz. of umber. 

2 oz. of asphaltum, 

i pint of boiled oil, 

2 oz. of resin. 



DECORATION OF METAL, WOOD, GLASS ZTC. 

When cooling add 

i] of turpentine. 
Both are used to varnish : 



Blue. 

Blue japan grounds may be formed of bright Prus- 
sian blue. The color may be mixed with shellac varnish 
and brought to a polishing state by fi a I 

- Hac varnish. Whenever a light blue : sired, the 
purest varnish must a. - -ecL 

Green. 

-V goc 1 green may be made by mixing Prussian blue 
tb the chromate of lead or with turmeric, only the 
two should be ground together, dissolve I in alcohol and 
applied is gi - ed with four or ir 

: -hellac varnish in the manner alr^ -cribed. A 

very bright green is made by laying on a ground of 
Dutch metal or leaf of go] and then coating it over 
with distilled verdigri- lissolved in alcohol, hen the 
ishes a the 1 jp. This is a splendid green, brilliant 
and glowii; j 

Orange grounds mav be made with vellow mixed with 

vermilion or carmine, just as a brig rather inferior 

r is wanted. The yellow should be always in quan- 

make a full good color and the red added in 

portion to the depth of shade. If there is not a good 

full bodv of vellow, the vellow will look waterv or 

"bar as it b technicallv called. 



LACQUERS AND JAPANNING. 18t 

Purple. 

This is made by a mixture of lake and Prussian blue 
or carmine or (for an inferior color) vermilion, and 
treated as the foregoing. When the ground is laid on 
and perfectly dried, a fine coat of pure boiled nut oil 
then laid on and perfectly dried is a good method to 
have a japan not liable to crack. But a better plan is 
to use this oil in the varnish given the first coat, after 
the ground is laid on, and which should contain much 
turpentine. In every case where oil is used for any 
purpose for varnish, it is all the better if turpentine is 
mixed with it. 

Red Japan Ground. 

The base of this ground must be made up with mad- 
der lake, ground with oil of turpentine. This forms 
the first ground ; when perfectly dry a second coat must 
be applied, composed of lake and white copal varnish; 
and the last with a coat composed of a mixture of copal 
and turpentine varnish mixed up with lake. Vermilion 
or carmine can also be used for red japan instead of 
lake. 

White Ground. 

To form a hard, white ground is no easy matter, as 
the substances generally used to make the japan hard 
have a tendency with a number of coats to look dull. 
One white ground consists of the following compo- 
sition: "Flake white or white lead, washed over and 
ground up with half of its weight of starch, then dried 
and mixed with the finest gum, ground up in proportions 
of 1 oz. to ^ oz. of rectified turpentine, mixed and 



152 DECOKATIOX OF METAL, WOOD, GLASS, ETC. 

ground thoroughly together. This is to be finally laid 
on the article to be japanned, dried and then varnished 

with five or six coats of the fallowing: 2 oz. of the 
finest seedlac to 3 oz. of gum anime, reduced to a fine 
powder and dissolved in 1 quart of alcohol. The lac 
must be carefully picked. For a softer varnish than 
this, a little turpentine should be added and less of the 
gum. 

A very good varnish, which is not brittle, may be 
made by dissolving gum anime in nut oil. boiling it 
gently as the gum is added and giving the oil as much 
as it will take up. The ground of white varnish may 
of itself be made of this varnish by giving two or three 
coats of it, but when used it should be diluted with 
pure turpentine. Although this varnish is not brittle, 
it is liable to be indented with strokes and will not 
bear to be polished : but, if well laid on, it will not need 
to be laid on afterwards. It also takes some time to 
dry. Heat applied to all oils darkens their color and 
oil varnishes for white grow very yellow if not exposed 
to a full, clear light. 

Yellow Grounds. 
Xo. 1. — King's yellow may be used and the effect 
will be heightened by dissolving powdered turmeric 
root in the spirits of wine, of which the upper or polish- 
ing coat is made. The spirits must be drained from the 
dregs before the seedlac is added to it to form the 
varnish. 

Xo. 2. — If turmeric be dissolved in the spirits of 
wine and strained through a cloth and then mixed 






LACQUERS AND JAPANNING. 183 

with the seedlac varnish, it makes a good yellow japan. 
Saffron will answer for the same purpose in the same 
way, but the brightest yellow ground is made by a pri- 
mary coat of pure chrome yellow and coated succes- 
sively with the varnish. 

'No. 3. — "Dutch pink" is used for a kind of cheap 
yellow japan ground. If a little dragon's blood be added 
to the varnish for yellow japan, a most rich and beau- 
tiful salmon-colored varnish is the result and by these 
two mixtures all the tones of flesh-colored japans are 
produced. 

Japans With Aniline Colors. 

These may be made by using the oil dyes. These 
dyes stand heat very well, whereas most of the ordinary 
aniline colors cannot stand heat without fading. 

Black Japan for Leather. 

Four oz. of burnt umber, 2 oz. of real asphaltum, J 
gallon of boiled oil. Dissolve the asphaltum by heat in 
a little of the oil, add the burnt umber, ground in oil, 
and with it, the remainder of the oil ; mix, cool and thin 
with turpentine until it is flexible. 

Imitation of Japanning. 

The peculiar glossy surface on the so-called japan 
trays can only be given by practice, but a mere imi- 
tation may be effected as follows : Mix ivory black with 
melted size, apply the mixture quite hot to the box or 
any other wooden article that it may be desired to treat 
in this manner. When dry, sandpaper the box, then 
give another coat of black. When this second coat is 



184 DECOKATIOX OF METAL, WOOD, GLASS, ETC. 

dry, bring to smobtlmess with sandpaper, at the same 
time taking care not to remove the stain so that the light 
wood below is exposed. Xow procure 1 lb. of black 
japan and 1 gill of turpentine; mix enough of the 
black japan for present use with turpentine, of which 
only sufficient should be used to make the japan fluid 
enough to run from the brush. A fine-haired paint 
brush should be employed. If properly done one C(5at 
will be sufficient and the box will look nearly equal to 
japan goods. Dry the varnished box in a warm room 
free from dust. 

Old Tea-Trays, to Japan. 

First clean them thoroughly with soap and water and 
a little rotten stone, then dry by wiping them and ex- 
posing to fire. Xow get some good copal varnish, mix 
with it some bronze powder and apply with a brush to 
the denuded parts. After which set the tea-tray in an 
oven at a heat of from 212 to 300° F. until the varnish 
is dry. Two coats will make it equal to new. 

Japan Flow for Tin. 
Three quarts of spirits of turpentine, 3 oz. of balsam 
of tolu, f pint of linseed oil, 3 oz. of acetate of lead, 
3 oz. of balsam of fir and 3 lbs. of gum sandarac. Put 
these materials, except the turpentine, in a suitable 
vessel. Place over a slow fire at first, then increase 
the heat until they are melted. When a little cool, 
stir in the turpentine. 

To Produce the Well-Known Tortoise-Shell Japan 
This kind of japan is very pretty and comparatively 
easy to manipulate. The work is first coated with a 



LACQUERS AND JAPANNING. 



185 



japan made by boiling 1 quart of linseed oil with 4 oz. 
of umber until it becomes thickened. The mixture is 
then strained and boiled until it becomes of a pitchy 
consistency. This is then mixed with turpentine to a 
workable consistence and then applied. When the coat 
has thoroughly dried, lay a quantity of vermilion 
spots to represent the clear portion of the shell. The 
vermilion japan is made by adding vermilion to shellac 
varnish; it should be laid on thinly and dried. The 
whole surface is then coated with a thin layer of the 
above-described brown japan still further diluted with 
turpentine. A long course of "stoving" will be nec- 
essary to thoroughly harden the japanning. 

Transparent Japan. 
This is used for japanning tin, such as canisters, 
etc. It is prepared by dissolving 8 oz. of oil of turpen- 
tine, 6 oz. of oil of lavender, 1 drachm of camphor and 
2 oz. of bruised copal. Sometimes quick-drying copal 
varnish is used instead of the above compound. 

To Renovate Japanese Lacquered Work. 

Dissolve 3 oz. of copal and 2 oz. of camphor in 6 oz. 
of oil of turpentine by gently heating the mixture with 
the aid of a water bath. Then add 30 fluid oz. of oil of 
lavender. The work to be renovated should be allowed 
a few days' rest to become clarified, and then the clear 
fluid can be poured off from the dregs for use. It is a 
transparent varnish, practically colorless, and will reno- 
vate lacquered work whether of wood or metal. 



DECORATING METALS BY OXIDIZING AXD 
PLATINIZING. 

To Oxidize With Solution of Platinum. 
Dissolve sufficient platinum in aqua regia and care- 
fully evaporate the resulting solution (chloride of plat- 
inum) to dryness. The dried mass may then be dis- 
solved in alcohol, ether or water, according to the effect 
which it is desired to produce, a slightly different ef- 
fect being produced by each of the solutions. Apply 
the solution of platinum with a camel's-hair brush and 
repeat the operation as often as may be necessary to in- 
crease the tone. A single application is frequently 
sufficient. The ethereal or alcoholic solution of plat- 
inum must be kept in a well-stoppered bottle and in a 
cool place. The aqueous solution of platinum should 
be applied hot. 

To Oxidize Copper and Brass. 

Immerse the articles in a solution of 2 oz. of nitrate 
of iron and 2 oz. of hyposulphite of soda to 1 pint of 
water until the desired shade of oxidation is acquired; 
then wash and brush. 

To Oxidize Silver. 

Xo. 1. — Add .004 to .005 of ammonium sulphide 
to water at a temperature of 160 to 180° F. When 

186 



DECORATING METALS BY OXIDIZING, ETC. 187, 

the articles are dipped into this solution, an iridescent 
coating of silver sulphide is produced, which after a few 
seconds turns black if allowed to remain in the liquid. 
Remove, rinse and burnish when desired. 

No. 2. — There are two distinct shades in use, one 
produced by a chloride and the other by sulphur, which 
has a bluish-black tint. To produce the former, it is 
only necessary to wash the article with a solution of 
salammoniac. 

No. 3. — A much more beautiful tint may be obtained 
by employing a solution composed of equal parts of 
coppper sulphate and ammonium chloride in vinegar 
or dilute acetic acid. The fine black tint may be pro- 
duced by a slightly warm solution of sodium or potas- 
sium sulphide. 

No. 4. — Five grains of bromide, 5 dwts. of potassium 
bromide and 10 oz. of water. Boil the silver in this, 
usually two to five minutes, then polish with rouge. 

No. 5. — Dissolve 2 dwts. of sulphate of copper, 1 
dwt. of nitrate of potash and 2 dwts. of ammonium 
chloride in a little acetic acid. Warm the articles and 
apply the solution with a camel's-hair brush and ex- 
pose to the fumes of sulphur in a closed box. Parts 
not to be colored must be coated with wax. 

No. 6. — Dip the clean silver article in a solution of 
2 drachms of sulphide of potassium (liver of sulphur) 
to 1 pint of water. Heat this solution to a temperature 
of 175° F. Immerse for a few seconds only, when the 
article becomes blue-black. For a velvet-black, dip 
the article, previous to oxidizing, in a solution of 
mercurous nitrate and water, then rinse. Then dip in 



188 DECORATION* OF METAL, WOOD, GLASS, ETC. 

the sulphide solution as above; next dip in a liquid 
composed of 10 parts of sulphate of copper (blue vitriol) 
and 5 parts of salammoniac to 100 parts of vinegar. 
After oxidation, brush with a scratch-brush very lightly 
to brighten and variegate the surface. 

There are many other methods, among which will be 
found the following : 

(a) Exposure to the vapor of chlorine. 

(b) Use a solution of equal parts of copper sulphate 
and ammonium chloride dissolved in vinegar. 

(c) Use potassium sulphide dissolved in warm water. 

(d) Use sodium sulphide dissolved in warm water. 

(e) Wash with a solution of ammonium chloride. 

Cheap Method of Platinizing Metals. 

In this process, the metallic object is covered with a 
mixture of borate of lead, oxide of copper and spirits 
of turpentine and submitted to a temperature of from 
250 to 330° F. This deposit, on melting, spreads in a 
uniform layer over the object. Then a second coat is 
laid on, consisting of borate of lead, oxide of copper 
and oil of lavender. Next, by means of a brush, the 
object is covered with a solution of chloride of platinum 
which is finally evaporated at a temperature of not more 
than 200° F. The platinum adheres firmly to the sur- 
face and exhibits a brilliant aspect. If the deposit be 
made upon the first coat, the platinum will have a dead 
appearance. Platinizing in this way, it is stated, costs 
about one-tenth the price of nickel-plating. 






DECORATING METALS BY OXIDIZIHG, ETC. 189 

Method of Platinizing Copper. 

The appearance of platinum may be given to copper 
by immersion in a bath composed of 35 fluid oz. of hy- 
drochloric acid, 7ix oz. of arsenic acid and 1J oz. of ace- 
tate of copper. The article must be cleaned before 
immersion and left in the bath until it has the color of 
platinum. 

Method of Platinizing Silver. 

Put some platinum in a small quantity of aqua regia 
(nitro-muriatic acid) and keep it in a warm place for 
a few days. It will dissolve. As soon as it has dis- 
solved, evaporate the liquid at a gentle heat until it is 
as thick as honey, so as to get rid of the excess of the 
nitric and hydrochloric acids. Add a little water and 
it is ready for use. A dozen drops of this solution goes 
a long way in platinizing silver. The operation is per- 
formed in a small glass or beaker with a watch-glass to 
keep in the fumes, and placed in a little warm sand 
in a saucer to equalize the heat. 



METHODS OF POLISHING WOODS, ETC. 

French Polishing'. 

This is the name given to the art of coating wood 
with a fine, smooth, glossy surface or varnish of shellac 
and various other gum-resins, which are easily soluble 
in 90%' alcohol, methylated spirit or wood naphtha. A 
varnish is thus produced ; but if it is applied with a 
brush, as copal, mastic and most other varnishes, the re- 
sult is a very broken and uneven surface, instead of a 
smooth and continuous polish. To obtain a good polish 
with a lac varnish on wood, it is necessary to apply a 
very small quantity at once and to rub it continuously 
until it dries; when this process has been carefully 
and properly gone through, the result is a beautiful 
and even surface, which is not to be surpassed or even 
equalled by any other means. 

Rubbers. 

The small pliable rubbers employed for doing carved 
framework, etc., are usually made of white wadding; 
and the large, round ones used for surface work are 
mostly formed of soft flannel. The latter kind must 
be firmly made and the more they possess such qualifi- 
cations as proper size and solidity, the more quickly 
will they polish extensive surfaces. 

190 



METHODS OF POLISHING WOODS, ETC. 191 

Bags. 

Fine linen makes the best rubbber coverings, but 
cheap cotton will answer as well. Both stuffs are pre- 
ferred after having been used and washed several times. 
The way to wash them is to boil them first in a strong 
]ye of potash and then in a weak one of soap powder, 
suffering each boiling to be succeeded by a thorough 
rinsing in clean water. 

Wettings. 

Some workmen wet the soles of their rubbers by dip- 
ping into a saucer containing the preparation, and 
others by holding their bottles upside down, allowing 
the polish to shower through the drilled apertures of 
the stopples. Care should be taken not to soak the 
rubber too much by either means, and after wetting and 
covering the sole it ought always to be pressed forcibly 
upon the palm of the hand so as to equalize the moisture. 

Kubbings. 

Invariably on beginning with a newly-wetted rubber, 
gently and regularly sweep the surface from end to 
end in the running direction of the fibre three successive 
times, then rub across the grain with a semi-circular 
motion until the polishing tool becomes dry. The 
operation is of course repeated until the whole of the 
surface of the pores is no longer visible. The work so 
treated is now to be left in a clean compartment for a 
period of twelve hours, this being the time required 
for the absorption of the first body. The sinking 



192 DECORATION OF METAL, WOOD, GLASS, ETC. 

period having expired, the work is smoothed, dusted, 
etc., and then the polishing of it is recommenced. The 
first sweepings are similar to those described in the 
preceding, after which ply the rubber wholly with a 
rotary movement, leaning lightly on it at first and 
slightly increasing the necessary pressure towards the 
drying of it, which is finally accomplished by sweeping 
once or twice along the grain to remove any marks 
that have been caused by the cross or round rubbings. 
Wipe off the dirt after each commencement. Allow 
every body a proper time to absorb and harden, pre- 
vious to the reapplication of smoothing stuffs or polishes. 
Cover your rubber with a clean part of the rag at each 
wetting. Carefully guard against working- vour im- 
plement too long in one direction and leaning too heavily 
on it when it is very wet, else you will be apt to pro- 
duce marks and streaky roughness. 

To Remove Rubber Marks. 

Rubber marks may be removed by being reversely 
rubbed with a heavily pressed half-dry rubber. In 
spiriting, the spiriting spirit should not be used in ex- 
cess, because it dissolves a portion of the resinous or 
gummy body and thereby causes dimness instead of 
brightness. If, however, the spirit be slightly mixed 
with polish and be sparingly employed, the desired 
clearness of lustre will make itself apparent. Prior to 
the application of the spirit cloth, which consists of a 
few soft rags loosely rolled up in the shape of a large 
finger rubber and slightly damped with spirit, it is 
most essential to ply the rubber more quickly and a 



METHODS OF POLISHING WOODS, ETC. 193 

little longer than ordinary, for the purpose of remov- 
ing all signs of moisture and greasiness from the sur- 
face of the gloss. Most polishers seem to think that 
nothing can be more productive of transparent bril- 
liancy and durable hardness at the finish, than the mod- 
erate use of spirit that has been somewhat weakened 
by exposure to the air and an allowance of two hours as 
a resting period between the final embodying and the 
spiriting. 

To Repolish Woods. 

In order to apply this process with facility, it will be 
needful to disunite the various parts of each article. 
If the job be a wardrobe, take off the doors by unfas- 
tening their hinges, remove all the screws, take off the 
cornice, lift the wings off the carcass from the base and 
then separate the mouldings and other carved ornaments 
from the frames and panels of the doors. Pull the 
drawers out, unscrew the knobs or handles, remove the 
escutcheons from the key-holes, free the pilasters from 
their recesses and lift the carcass from off the base. If 
the job is a sideboard, separate the upper back from the 
top, unscrew the under back and then take the base, 
top and pedestals asunder. After having disjoined the 
different portions and ornaments, take a pencil and put 
tally marks on every two meeting sides. This will 
guide you in having everything appropriately replaced 
when the complete article is finished. The viscid rust 
or sweated polish must be removed from the surface of 
the work. This is done by scrubbing it with a paste 
made of the finest emery flour and spirits of turpentine. 



194 DECORATION OF METAL, WOOD, GLASS, ETC. 

After cleaning and before rcpolishing, it is a good 
plan to merely moisten the face of the work with raw 
linseed oil, for this causes the old body to unite with 
the new one. Where shallow dents, scratches and broken 
parts of the polish present themselves, carefully coat 
them three times with a thick solution of shellac and 
when the last coatings become hard, rub them with soft 
putty until they become uniformly smooth and even; 
then proceed to polish the general surface. 

To Polish Wood in the Lathe. 

Soft wood may be turned so smooth as to require 
no other polishing than that produced by holding it 
against a few fine turnings or shavings of the same wood 
while revolving. Mahogany, walnut and some other 
woods may be polished by the use of a mixture as 
follows : Dissolve by heat so much turpentine and bees- 
wax that the mixture when cold shall be about the 
thickness of honey. This may be applied to the fur- 
niture or work running in the lathe by means of a 
piece of clean cloth, and as much as possible should be 
rubbed off by using a clean flannel or other cloth. Hard 
woods may be turned readily smooth, fine glass paper 
will suffice to give them a very fine surface, a little lin- 
seed oil may then be rubbed down and a portion of the 
turnings of the wood to be polished may then be held 
against the article while it turns rapidly, which will 
in general give it a fine gloss. Also try 2 parts of alco- 
holic shellac varnish and 1 part of boiled linseed oil; 
shake well before using. Apply a small quantity with 
a cloth and rub vigorously until the polish is obtained. 



METHODS OF POLISHING WOODS, ETC. 195 

To Polish Piano Keys. 

The frame will not hold the keys sufficiently level 
or firm. A better way would be to handscrew a few at 
a time on a board and scrape them in that position. 
They should be finished with flour paper, care being 
taken that they do not get too hot during the process. 
Unless the keys are very hollow or much discolored it 
would perhaps be better to dispense with the scraper 
altogether, using a coarser glass paper in its stead. 
They should be polished singly on a board covered with 
several thicknesses of cloth, which should be placed on 
a bench and the ivories vigorously rubbed, lengthwise 
and face downwards, until a good polish is obtained. 
Putty powder is the best polishing material, though 
pumice might first be used to take out any marks left 
by the paper. A very brilliant polish may be got by 
finishing the keys with a similar board covered with 
wash leather and sprinkled with rouge. A liberal sup- 
ply of water is necessary during the process. 

To Polish Plaster of Paris Work. 

Add to the gypsum 1% or 2% of alum, sulphate of 
potash or borax. The gypsum will set slowly and is 
capable of receiving a high polish. 

Polishing Vulcanite. 

No. 1. — Remove scratches with a smooth, wet, water- 
of-Ayr stone and then polish in the lathe with fine 
pumice and a stiff brush. After washing off the pumice, 
polish it with whiting and a soft brush, 



196 DECORATION OF METAL. WOOD. GLASS. ETC. 



No. _. — Mathematical instrument makers treat i 
they do brass. That is, for flat work they first use 

waterof-Ayr stone and then rotten stone and oil. 

Turned work is polished in the lathe with rotten stone 
and oil : too high a speed must be avoided as it would 

t the vulcanite. Some use lampblack and oil to 
finish with where a very high polish is wanted, or the 
palm of the hand as in getting up silver plate. Chain 
and ornament makers use a circular buff for their flat 

rk, made of "sea-horse" leather (rhinoceros hide), 
and for work of irregular form, buffs of calico. 



DECOEATING WOOD AND OTHER MATE- 
RIALS BY STAINING. 

To Stain or Color Alabaster. 

No. 1. — Mix various colored powders or solutions 
with the plaster at the time of mixing it up with the 
water. A little tierra di siena in very fine powder or 
ground with water, added to the water employed to mix 
up the plaster, imparts a pleasing color to busts, statues, 
medallions, etc. 

No. 2. — Objects formed of the solid alabaster may 
be stained in the same way and with the same materials 
as marble. 

To Stain Bricks. 

No. 1. — For staining bricks red, mix 1 oz. of glue in 
1 gallon of water, add a piece of alum the size of an 
egg, then -| lb. of Venetian red and 1 lb. of Spanish 
brown. Try the color on the bricks before using and 
change to light or dark with the red or brown, using a 
yellow mineral for buff. 

Tor Coloring Bricks Black. 

No. 1 — Heat asphaltum to a fluid state, moderately 
heat the surface of the bricks and dip them. 

No. 2. — Make a mixture of linseed oil and asphaltum, 
heat the bricks and dip them. It is important that the 
bricks should be sufficiently hot and be held in the mix- 
ture to absorb the color to the depth of £ inch, 

197 



198 DECORATION OF METAL, WOOD, GLASS, ETC. 

Red Wash for Bricks. 
Melt | oz. of glue in hot water. While hot, 
put in a piece of alum half the size of an egg, J lb. of 
Venetian rod and I lb. of Spanish brown. Try a little 
on the bricks. If the color is too light add more red; 
if too dark ; more water. 

To Stain Tortoise-Shell. 
A rough dough is prepared from 17.5 oz. of white 
litharge, 2.2 lbs. of finely-powdered unslaked lime, 3.3 
lbs. of soap-boiler's lye having the specific weight of 
3.036. The places of the horn which are to become dark 
are covered with this dough, and the horn allowed to re- 
main in contact with the dough for about 24 hours until 
the latter has become perfectly dry. The horn is then 
cleansed with a brush. 

A Blue Stain for Marble. 
Use a tincture or solution of litmus or an alkaline 
solution of indigo. Heat the liquid so that it will just 
simmer on the surface. 

Wood Staining. 
The best woods for staining are those of close-woven 
texture, as cherry, birch and maple. The wood should 
be perfectly dry, planed and sandpapered very smooth. 
Nearly all the stains are applied hot as this causes them 
to penetrate the pores of the wood more deeply. If the 
wood is to be varnished, many of the dyes used in color- 
ing cloth may be employed in alcoholic solutions, but 



DECOKATING WOOD, ETC., BY STAINING. 199 

the effect is not equal to the regular stain. In case the 
natural color of the wood prevents the wood being 
stained satisfactorily, bleach the wood by saturating 
with the following solution: 

9 oz. of chloride of lime, 

1 oz. of soda crystals, 

2-J quarts of water. 
The wood may be bleached in this for half an hour. 
Wash with a solution of sulphurous acid, then with 
water. 

To Stain Wood Black. 
No. 1. — Obtained by boiling together blue Brazil 
wood, powdered gall-apples and alum in rain or river 
water until it becomes black. This liquid is then filtered 
through fine organzine and the objects painted with a 
new brush before the decoction is cooled. This is re- 
peated until the wood appears of a black color. It is 
then coated with the following liquid, a mixture of iron 
filings, vitriol and vinegar, which is heated (without 
boiling) and left a few days to settle. Even if the wood 
is black enough, yet for the sake of durability it must 
be coated with a solution of alum and nitric acid, mixed 
with a little verdigris, then a decoction of gall-apples 
and logwood dyes is used to give it a black color. 

No. 2. — One ounce gallnuts broken into small pieces, 
put into barely i pint of vinegar, which must be 
contained in an open vessel, let stand for half an hour ; 
then add 1 oz. of steel filings, the vinegar will then com- 
mence effervescing; cover up but not sufficient to ex- 
clude all air. The solution must then stand for about 
half an hour when it will be ready for use, Apply the 



200 DECORATION OF METAL, WOOD, GLASS, ETC. 

solution with a brush to the article, then let it remain 
until dry. If not black enough, coat it until it is; of 
course letting it remain sufficiently long to dry thor- 
oughly. After the solution is made, keep it in a closely- 
corked bottle. 

No. 3. — Campeachy wood, 250 parts; water, 2,000 
parts, and copper sulphate, 30 parts. The wood is al- 
lowed to stand for 24 hours in this liquor, dried in the 
air, and finally immersed in iron nitrate liquor at 4 
Beaume. 

No. 4. — Boil 85 oz. of logwood in 70 oz. of water 
and 1 oz. of bluestone, and steep the wood for 34 hours. 
Take out, expose to the air for a long time and then 
steep for 12 hours in a beck of iron nitrate of 4 Beaume. 
If the black is not fine enough, steep again in logwood 
liquor. 

No. 5. — Almost any wood can be dyed black by the 
following means : Take logwood extract such as is found 
in commerce, powder 1 oz. and boil in f pint of water. 
When the extract is dissolved add 1 drachm of potash 
bichromate and agitate the whole. The operation is 
now finished and the liquid will serve equally well 
to stain wood. Its color is a fine black when applied 
to the wood. 

No. 6. — For black and gold furniture, procure 1 lb. 
of logwood chips and 2 quarts of water ; boil one hour, 
brush the liquor in hot ; when dry give it another coat. 
Now procure 1 oz. of green copperas, dissolve it in warm 
water, mix well and brush the solution over the wood. 
It will bring out a fine black, but the wood should be 
dried outdoors as the black sets better. Now procure, 



DECORATING WOOD, ETC., BY STAINING. 201 

say, 1 gill of French polish, in which mix 1 oz. of 
ivory black, or gas black is best (see following recipe). 
Shake it until quite a thick pasty mass, procure \ lb. 
of best hard varnish, pour a portion into a cup, add 
enough polish to make it quite dark and then varnish 
the work. Two thin coats are better than one thick one. 
The first coat may be glass-papered down where access- 
ible, as it will look better. A coat of glaze over the 
whole gives a "London" finish. 

For a Table. 

No. 7. — Wash the surface of table with liquid am- 
monia applied with a piece of rag ; the varnish will then 
peel off like a skin. Afterwards smooth down with fine 
sandpaper. Mix \ lb. of lampblack with 1 quart of 
hot water, adding a little glue size. Rub this stain in 
well, let it dry before sandpapering it smooth again. 
Afterward apply the following black stain with a broad, 
fine camel's-hair brush. Mix a small quantity of gas 
black with the varnish. A black can be obtained by boil- 
ing a pot over the gas, letting the pot nearly touch the 
burner, when a fine jet-black will form on the bottom, 
which remove and mix with the varnish. Copper vessels 
give the best black. It may be collected from barbers' 
warming pots. 

ISTo. 8. — Sponge the wood with a solution of aniline 
chlorohydrate in water, to which a little quantity of cop- 
per chloride is added. Allow it to dry and go over it 
with a solution of potassium bichromate. Repeat the 
process two or three times and the wood will take a 
fine black color, 



202 DECOllATION OF METAL, WOOD, GLASS, ETC. 

Brown Stain. 

No. 1. — Various tones may be produced by mordant- 
ing with potash chromate and applying a decoction of 
fustic, of logwood or of peachwood. 

No. 2. — Sulphuric acid more or less diluted, ac- 
cording to the density of the color to be produced, is 
applied with a brush to the wood, which is previously 
cleaned and dried. When the acid has acted suffi- 
ciently, its further activity is arrested by the applica- 
tion of ammonia. 

No. 3. — Tincture of iodine yields a fine brown colora- 
tion, which, however, is not permanent unless the air is 
excluded by a thick coating of polish. 

No. 4. — A simple brown wash is ^ oz. of alkanet root, 
1 oz. of aloes, 1 oz. of dragon's blood, digested in 1 lb. 
of alcohol. This is applied after the wood has been 
washed with aqua regia, but is, like all the alcoholic 
washes, not very durable. 



Cherry or Crimson Stain. 

25 grains of alkanet root, 
30 grains of aloes, 
30 grains of dragon's blood, 
500 grains of 95% alcohol. 
Mix and let it stand in a tightly-corked bottle some 
days. Go over the wood with dilute (1 to 10) nitric 
acid first. This is pretty dark, You may lighten by 
Using more alcohol, 



DECORATING WOOD, ETC., BY STAINING. 203 

Red Stain for Bedsteads and Common Chairs. 

Archil will produce a very good stain of itself when 
used cold, but if, after one or two coats being applied 
and suffered to become almost dry ? it is brushed with a 
hot solution of pearlash in water, the color is improved. 

To Give the Appearance of Age. 

No. 1. — Boil | lb. of madder and 2 oz. of logwood 
chips in a gallon of water and brush well over while 
hot. When dry, go over the whole with pearlash solu- 
tion, 2 drachms to the quart. 

No. 2. — Boil -| lb. of logwood in 1 pint of water and 
add ^ oz. of salt of tartar. Stain the wood with the 
liquor boiling hot. 

No. 3.— Boil \ lb. of madder and \ lb. of fustic in 1 
gallon of water; use hot as before. 

Ebonizing. 

Boil 1 lb. of logwood chips one hour in 2 quarts of 
water. Brush the hot liquor over the work to be stained 
and lay aside to dry. When dry, give another coat, still 
using it hot. When the second coat is dry, brush the 
following liquor over the work: 1 oz. of green cop- 
peras to 1 quart of water, to be used when the copperas 
is all dissolved. For staining, the work must not be 
dried by fire but in the sunshine. If this is not con- 
venient, then in a warm room away from the fire. To 
polish this work, first give a coating of very thin glue 
size and when dry smooth off very lightly with num- 
ber paper only just enough to render smooth but not 



204 DECORATION of metal, WOOD, GLASS, ETC. 

to remove the black stain. Then make a rubber of wad- 
ding about the size of a walnut, moisten the rubber 
with Freneh polish, eover the whole tightly with a linen 
rag, put one drop of oil on the surface and rub the work 
with a circular motion. When the work has received 
one coat, set aside to dry for about an hour. After the 
first coat is laid on and thoroughly dry, it should be 
partly papered off with number paper. This brings 
the surface even and at the same time fills up the grain. 
"Now give a second coat as before. Allow 24 hours to 
elapse, again smooth off and give a final coat as be- 
fore. Xow comes spiriting off; great care must be used 
here or the work will be dull instead of bright. A 
clean rubber must be made, as previously described, but 
instead of being moistened with polish it must be wetted 
with 90% alcohol, placed in a linen rag screwed into a 
tight, even-surface ball, just touched on the face with 
a drop of oil and then rubbed lightly and quickly in cir- 
cular sweeps all over the work from top to bottom. 

For a fine black ebony stain, apple, pear and hazel 
woods are the best to use. ^Yhen stained black, they 
are most complete imitations of the natural ebony. For 
the stain, take 14 oz. of gall-apples, 34 oz. of rasped 
logwood, 3^ oz. of vitriol, If oz. of verdigris. For the 
second coating, a mixture of 3 oz. of iron filings dis- 
solved in 14 pints of strong wine vinegar, is warmed, 
and when cool, the wood, already blackened, is coated 
two or three times with it, allowing it to dry after each 
coat. A strong lye is now put into a suitable pot to 
which is added coarsely-bruised gall-apples and blue 
Brazil shavings, and exposed for the same time as the 



DECOftATtNG- WOOD, ETC., BY STAINING. 205 

former to the gentle heat of an oven which will then 
yield a good liquid. The woods are now laid in the 
first-named stain, boiled for a few hours and left in it 
for three days. They are then placed in the second 
stain and treated as in the first. If the articles are not 
thoroughly saturated, they may be once more placed in 
the first bath; then in the second. The polish used 
for wood that is stained black should be white (color- 
less), to which a little finely-ground Prussian blue 
should be added. 

To Stain Floors. 

No. 1. — Get the wood clean, have some Vandyke 
brown and burnt sienna ground in water; mix it to a 
strong size, put on with a whitewash or a new brush as 
evenly as you can. When dry, give two coats of copal 
or oak varnish. 

No. 2. — If the floor is a new one, have the border well 
washed, polish with glass paper, rubbing always with 
the grain of the wood. Cover with good oak varnish. 
Put coloring matter into the varnish to suit your taste, 
but umber is best. If the floor is old and blackened, 
paint it. 

To Stain Beech a Mahogany Color. 

Put 2 oz. of dragon's blood, broken in pieces, into a 
quart of 90% alcohol. Let the bottle stand in a warm 
place and shake it frequently. When dissolved, it is fit 
for use. 

Imitation of Mahogany. 

Plane the surface smooth and rub with a solution of 
nitrous acid. Then apply with a soft brush, 1 oz. of 



206 DECORATIOX OF METAL, WOOD, GLASS, ETC. 

dragon's blood dissolved in about 1 pint of alcohol and 
with one-third of an oz. of carbonate of soda, mixed 
and filtered. When the brilliancy of the polish dimin- 
ishes, it may be restored by the use of a little cold- 
drawn linseed oil. 



To Darken Oak. 

Give it an application of strong liquid ammonia by 
means of a sponge or brush. The tannic acid in this 
wood causes it to darken immediately and the color does 
not fade. Bichromate of potash dissolved in a small 
quantity of water and applied in a similar manner, will 
produce the same results. Some German cabinet makars 
use very strong coffee for darkening oak. 

To make oak very dark, iron filings mixed with a 
little water and sulphuric acid, and applied with a 
sponge, will produce any shade of darkness on oak, ac- 
cording to the number of applications. Allow each coat 
to dry before applying the next. 

Another process is to lay on a coat of ordinary white- 
wash made from fresh lime and when dry and hard, 
brush off with a stiff brush and have an application 
of linseed oil given to the wood. This process should 
be done after the wood has been worked. By this pro- 
cess new oak can be made to look like old wainscot oak. 

An application of a strong solution of common wash- 
ing soda will darken oak. It should be sandpapered af- 
terwards and then oiled. 

The application of a decoction of green walnut shells 
will bring the color of new oak to any shade required, 
even black. 



DECORATING WOOD, ETC., BY STAIKIHG. 20? 

A Brown Stain On Oak. 

A brown stain on oak is produced by the application 
of a solution prepared by boiling 1 oz. of caoutchouc 
(gambier) in 30 fluid oz. of water. When this has dried 
on, brush the wood with a solution of bichromate of 
potash made by dissolving 1 oz. of the bichromate in 1^ 
pints of water. 

Equal parts of American potash and pearlash will 
give a good oak stain, about 2 oz. of each to the 1^ oz. 
of boiling water. Use this fluid on a mop or sponge tied 
to a stick as it blisters the hands, owing to its causticity ; 
dilute with water if necessary. 

To Produce Walnut Stain. 

No. 1. — Light Walnut. — Dissolve 1 oz. of perman- 
ganate of potash in 30 oz. of water and apply twice in 
succession. After an interval of five minutes wash with 
clean water and when dry oil and polish. 

No. 2. — Dark Walnut. — Same as for the light wal- 
nut, but after the washing with water, the dark veins 
are made more prominent with a solution of acetate of 
iron applied skilfully with a thin camel's-hair brush 
or pencil. 

To Stain Pine a Walnut Color. 

Put 2 oz. of privet berries in \ pint of liquid am- 
monia and apply to the wood, whether it be varnished or 
polished. It will produce the color of real walnut so 
closely as to be difficult to detect from that article. 

Take 1 gallon of very thin size shellac ; add 1 lb. of 
dry burnt umber, 1 lb. of dry burnt sienna and 4 oz. of 



2(38 DECORATION OF METAL, WOOD, GLASS, ETC. 

lampblack. Mix well these ingredients by sifting to- 
gether, then add them to the shellac size. Apply one 
coat with a brush. When dry, rub down with fine glass 
paper and apply one coat of shellac or cheap varnish. 
It will then be a good imitation of solid walnut. This 
is adapted for the backboard of mirror frames, the back 
and inside of casework, etc. 

To Darken Walnut. 
One part of slaked lime mixed with 4 parts of water 
will darken walnut. A solution of sulphate of iron or 
a w r eak solution of pearlash also serves the same pur- 
pose. 

To Impart a Rosewood Color to Walnut. 
Dissolve one-fifth of an oz. of bichromate of potash in 
1 oz. of water and apply the solution with a sponge, then 
pumice stone the wood and oil it. 

To Stain Common Deal or Pine a Walnut Color. 
These woods, also birch, can be made to appear as if 
veneered with walnut. Dissolve 3 oz. of manganate of 
potash and 3 oz. of manganese sulphate in 5 oz. of water 
and give the wood several applications with a brush. 
The potash manganate is decomposed when it comes in 
contact with the woody fibre and thus a beautiful and 
very durable walnut color is obtained. If small wooden 
articles are to be stained in this manner, a very dilute 
bath is prepared, the articles dipped in it and kept there 
one to nine minutes, according as the color is desired 
darker or lighter. 






DECORATING WOOD, ETC., BY STAINING. 209 

A Simple Walnut Stain for Soft Woods. 

Boil together J oz. of common washing soda, 2^ oz. of 
Vandyke brown, |- to \ oz. of potassium bichromate in 
1 quart of water, replacing the water that is lost by 
evaporation. Use hot and allow the work to dry thor- 
oughly before oiling or polishing. 

Walnut Stain for Hardwood Furniture. 

Dissolve 2 lbs. of genuine asphaltum in 1 gallon of 
spirits of turpentine and apply with a brush or sponge. 
Only a thin solution is required. 

Dragon's blood and lampblack mixed with wood alco- 
hol may be used to impart the color of walnut to woods, 
whether hard or soft. 

Mix and apply with a brush a solution made of 1 
gallon of strong vinegar, 1 lb. of dry burnt umber, \ oz. 
of rose pink, and \ lb. of dry burnt Vandyke brown. 

To Produce a Rosewood Color. 

Boil 1 lb. of logwood chips, \ lb. red sanders wood 
in i gallon water, and coat the wood with this, then go 
over it with the asphaltum in turpentine. 

Staining Wickerware. 

All osiers take stains remarkably well, but to cause 
the stain to penetrate well into the wood, so as not to 
be bleached when exposed to the air, the wood should 
be first mordanted with lime water, which is easily pre- 
pared by slaking freshly burnt lime with tepid water 



210 DECOKATIOX OF METAL, WOOD, GLASS, ETC. 

until it falls to a fine powder, and stirring 1 pint of 
this powder with 15 to 20 pints of soft water, allow it 
to settle, and then pour off the fluid from the deposit. 
The fluid thus poured off is put into a suitable vessel, 
and the osiers or wickerware steeped in it for 1 to 6 
hours, then they are taken out and dried at 96 to 104° 
Fahr. Before the ware-wood becomes cold, the stain 
is applied either with a brush or by steeping the wicker- 
ware in the fluid stain; sometimes the osiers are stained 
before being made into wickerware. Brown stains are 
usually chosen for wickerwork, but practically any 
color can be imparted to it, and any lettering or 
device can be applied by staining the white wood. 

No. 1. — Brown Stain. — Dissolve 1 oz. of perman- 
ganate of potash in 5 pints of water, and dip the wick- 
erware into the fluid, lift out at once, and allow the 
ware to drain. By this means a pale brown color is 
obtained, but by allowing the wickerware to remain 
from J to several hours, various darker tones can be 
obtained. 

No. 2. — Dissolve 4-J- oz. of potash in 5 pints of water, 
and steep the wickerware in this fluid for 2 hours, then 
boil it for 2 hours in a boiling hot solution of pyro- 
gallic acid, made by dissolving 2-\ oz. of this acid in 5 
pints of water. 

Xo. 3. — Dissolve 3^ oz. of catechu and 1\ oz. of soda 
crystals in 5 pints of water by boiling, and steep the 
wickerware in the fluid for 3 or 4 hours, then dry it 
and afterward steep it for 1 hour in a solution of 5 oz. 
of bichromate of potash in 5 pints of water. 

Blue. — This stain is imparted by dissolving 2 oz. of 



DECORATING WOOD, ETC., BY STAINING. 211 

indigo carmine in 1 quart of water and soaking the 
wickerware in the fluid for 5 or 6 hours. 

Green. — Dissolve 2 oz. of indigo sulphate and 1 oz. 
of picric acid in 50 oz. of boiling water, and steep the 
wickerware in the fluid for several hours. Different 
tones of green are obtained by altering the relative pro- 
portions of the above coloring matters. 

Yellow.— These stains are obtained by dissolving 1 
oz. of picric acid in 5 quarts of boiling water, and 
steeping the wickerware in the fluid for 2 hours. 

Brown or Black on Wickerware. 

The above bright colors are best obtained on the 
white or uncolored wickerware. If it has become 
travel-stained or soiled through constant use, it is best 
to renovate the soiled case by staining it brown or 
black. Either of the following will produce a good 
black, provided all grime has been washed off the wick- 
erware. 

No. 1. — Dissolve 1^ pounds of aniline nitrate and 
1 oz. of cupric chloride in 9^ gallons of water. Boil 
the wickerware in the fluid for 1 hour, then put it in 
a boiling hot solution of potash bichromate for ^ hour, 
8^ oz. of bicarbonate per gallon of water. 

No. 2. — Boil 25 oz. of logwood extract in 12^ pints 
of water and 1-5 oz. of alum, strain or filter the fluid, 
and then steep the wicker in the fluid for 2 to 6 hours. 

Keep the liquid at the boil all the time, then remove 
the wickerware and dry, then steep in a boiling hot so- 
lution (from 2 to 4 hours) of ±5 oz. of sulphate of iron 



212 DECORATION OF METAL, WOOD, GLASS, ETC. 

in 7i pints of water. This produces a more or less 
bluish black with a grayish cast, but by steeping in a 
decoction of 13 oz. of cupric sulphate in 1^ gallons of 
water, a deeper black is obtained. 

Gray. — In the case of new wickerware, it will be 
found that by coloring it a gray tone, dirt and grime 
will not show so readily as with unstained wood. A 
good gray tone is obtained by dissolving 45 oz. of sul- 
phate of iron (green copperas) in 7^ pints of cold 
water, and steeping it well in it for 2 to 6 hour-, 
and then, after drying, in a decoction of 1^ pounds of 
pyrogallic acid in 5 pints of water. The gray color pro- 
duced will not look so funereal as black, and at the same 
time will disguise the effect of dirt and grime. 

Aniline Colors. 
These aniline dyes are much more effective than the 
above coloring matters, as these dyes attack organic 
fibres, such as wood, directly it comes in contact with 
them, so that there is no necessity for prolonged steep- 
ing. In fact, the staining fluid can be applied with a 
brush or sponge. For bright colors, aniline colors are 
best to use. In using aniline colors, the wood must not 
be mordanted with lime water, because that, in many 
cases, would discharge the color of the dye. The best 
mordanting process is to dissolve 6 oz. of Marseilles 
soap in 12^ pints of boiling water, soak well the wick- 
erware in the solution and dry before applying the dye 
liquor. The aniline dyes used should be those soluble 
in water. It is best to dissolve the dye in water of B6 
to 140° Fahr. Stir well and then steep the wickerware 



DECORATING WOOD, ETC., BY STAINING. 213 

in the dye liquor until colored deep enough. As the 
dye liquor becomes exhausted, it should be strengthened 
by the addition of some freshly made dye solution. The 
quantity of dye to use is very small. The following 
formulas will show the quantity to use : 

No. 1. — Blue. — Dark. Dissolve 3 oz. of Bengal blue 
in 3J pints of boiling water, and stir or filter the fluid 
in 10 minutes' time. 

No. 2. — Light. Dissolve 3 oz. of blue de lumiere in 
J gallon of boiling water. 

No. 3. — Sky Blue. Dissolve 3 oz. of blue de ciel in 
-| gallon of boiling water. 

No. 4. — Greenish Blue. Dissolve 3 oz. of blue de 
vert in ^ gallon of water. 

No. 1. — Green. — Dark. Dissolve 3 oz. of methyl 
green, \ oz. of blue de lumiere, -J gallon of hot water. 

No. 2. — Light. Dissolve 1 oz. of methyl green, 1 
pint of boiling water. 

Bed. — Dissolve 3 oz. of coral red, 5 pints of water. 

Dark Red. — Dissolve 3 oz. of f uchsine, 1 oz. of orange 
and 5 pints of water. 

Rose Bed. — Dissolve 3 oz. of rose Bengal and 5 pints 
of water. 

Violet. — Dissolve 3 oz. of methyl violet in \ gallon 
of water. 

Reddish Violet. — Dissolve 3 oz. of methyl violet, 1 
oz. of fuchsine and \ gallon of water. 

Golden Yellow. — Dissolve 3 oz. of naphthaline yel- 
low and \ gallon of water. 

Brown. — Dissolve 3 oz. of Bismarck brown and \ 
gallon of water. 



211 DECOEATIOX OF METAL, WOOD, GLASS, ETC. 

Chestnut Brown. — Dissolve 1 oz. of maroon and 1 
pint of water. 

Finishing the Ware. 

There are many other stains, but the above will indi- 
cate the proportion. The quantities specified produce a 
very concentrated stain. If any more dye were ti- 
the liquid will produce bronzed effects. It is best to 
make up the dye liquor with the quantities specified, 
then to take a pint or quart of it and dilute with more 
or less water to produce sufficient dye liquor for the 
wickerware to be steeped in. As the dye liquor loses 
strength it should be fortified by the addition of more 
of the original dye solution. 

After the wickerware is dry and dyed, it should be 
given a coat of varnish or lacquer made as follows, 
but first dip the ware in a thin solution of hot white 
glue or gelatine, and allow it to dry. This will close the 
pores and take the varnish smoothly. For white ware, 
the colorless spirit varnish is needed. Tor dark ware, 
a mixture of light and dark brown spirit varnish or 
quick drying copal varnish is advised. For black, spirit 
lacquer should be used. 

A- it is becoming a prevailing custom for makers of 
light dinner beverages to supply them in 1- and 2-gallon 
jars, wicker covered and fitted with a faucet, it will be 
found to the advantage of the manufacturer to have the 
wicker cases stained and varnished. He will thus pre- 
serve them from damp, at the same time make them 
look presentable and permit of them being cleaned more 
readilv than if left in the natural white state. 



MISCELLANEOUS DECOEATING PEOCESSES. 

Decorating Glass, Etc., With Prints. 

To transfer prints to polished steel or to glass, make 
a varnish as follows : Digest in a bottle : 
4 oz. of sandarac resin, 
1 oz. of Venice turpentine, 
15 oz. of alcohol. 

Moisten the print slightly on the back by laying a 
wet cloth upon it. Then varnish the steel plate or glass 
with a thin, even coat of the above varnish. Lay the 
print with the face next to the varnish, commencing on 
one side so as not to inclose air bubbles, pressing down 
with the fingers if the print is small or using a soft roller 
if the print is large. Be careful that all parts of the 
print are in contact with the varnish, then lay aside to 
dry. After it is dry, wet the back with water and 
cautiously rub the paper off with the fingers. Eub 
lightly towards the last with plenty of water and the 
surface of the varnish will come up smooth with the 
ink of the print solidly embodied. Then a thin coat of 
mastic varnish will give it a finish. 

No. 2. — First coat the glass with dammar varnish 
or with Canada balsam mixed with an equal quantity 
of turpentine. Let it lay until it is very sticky, which 
takes half a day or more. The printed paper to be 

215 



216 DECORATION OF METAL, WOOD, GLASS, ETC. 

transferred should be well soaked in soft water and 
carefully laid upon the prepared glass, after removing 
surplus water with blotting-paper and pressing upon it 
so that no air-bubbles or drops of water are seen be- 
neath. This should dry a whole day before it is touched. 
Then, with wetted fingers, begin to rub the paper light- 
ly at the back. If this be skilfully done, almost the 
whole of the paper can be removed, leaving the ink 
-imply upon the varnish. When the paper has been 
removed, another coat of varnish will serve to make the 
whole transparent. 

Pasteboard, to Dye. 

To give white pasteboard the color of leather, soak in 
a solution of copperas and then in ammonia. 

Pearl Buttons, to Dye. 

Wash with a lukewarm solution of potash, then place 
in a strong aqueous solution of the desired color and 
let them remain with frequent stirring in a warm place. 
To cause the color to penetrate, an immersion of two 
weeks may be needed. Use aniline colors. 

To Preserve Photographic Negatives. 

Put \ pint of chloroform into a bottle and add 1 oz. 
of dammar, \ oz. of mastic and \ oz. of sandarac resin, 
all in fine powder. Then add \ pint of varnish oil, 
-hake up well together and then stand the bottle in a 
sand bath until the solids are dissolved. Filter the 
fluid through eotton-wool in a china or glass funnel and 



MISCELLANEOUS DECORATING PROCESSES. 217 

keep in a well-stoppered bottle. It is laid on the film 
side of the negatives to keep them from injury. 

Iridescent Glass. 
The manner in which the glass is to be made irides- 
cent is due to when it has been given the lightest de- 
gree of heat. The following mixture is introduced into 
the annealing chamber through an aperture: 1 part of 
carbonate of barytes, -J part of strontium and 2 parts 
of tin salts. The vapors which are developed produce 
the lustre. Strontium gives red, barytes blue, and the 
tin salt, various colors. 

Photochromotypy. 

This is a process of producing impressions of leaves 
and plants and is effected as follows : The plant is first 
dried and flattened by pressure between unsized paper 
or it may be done rapidly with a hot iron. The surface 
to be copied is then brushed with a solution of aniline 
color in alcohol and allowed to dry, which will take 
place very rapidly. If the impression is to be taken on 
paper, immerse the latter in water for a few seconds and 
remove the excess by pressure between blotting-paper. 
Place it then on some non-absorbent surface and apply 
the plant, colored side down. While it is held securely 
in position, stamp the whole surface with a wad of 
cotton. A cold iron may be placed over the paper in- 
stead of using the cotton, and if a few sheets of tissue 
paper are interspersed between the paper and plant, its 
outline and veins principally will be copied. If the 
paper which is to receive the impression is moistened 



218 DECORATIOX OF METAL, WOOD, GLASS, ETC. 

with alcohol instead of water, the impression will be 
brighter and the paper will retain its lustre or gloss 
better. If a very light coating of glycerine be spread 
on the colored plant when perfectly dry and the excess 
removed by unglazed paper, one or more prints may 
be taken upon dry paper or other dry surface. If the 
print shows blots when a strong color is used, pass over 
the surface a solution of nitrate of potash, which will 
moderate the impression. Parts of plants may be 
colored differently to conform to nature or individual 
taste. Defects may be touched up with a pen dipped in 
the color. 

Crystal Ornaments. 

By suspending a bundle of small twigs, ears of corn, 
moss roses, a hyacinth, etc., in a saturated solution of 
alum or other salts, the article will become covered with 
a mass of crystals in a form that makes a very pretty 
ornament which if kept under a glass shade will retain 
the crystal form indefinitely. The following processes 
are carried out to produce these ornaments: 

]STo. 1. — Dissolve 18 oz. of alum in 1 pint of water, 
boiling it in a closed tin vessel over a moderate fire and 
keeping it stirred with a stick of wood until the alum 
has dissolved. Then allow the liquid to become almost 
cold, but before it is quite cold, suspend the article to 
be crystallized in the solution. The solution is best put 
in a jar with a wide mouth and the article suspended 
by means of a thread from a stick of wood or a wire 
laid across the jar. The articles should remain in the 
solution 2i hours, when they are taken out and 
suspended in the shade until they are quite dry. The 



_ 



MISCELLANEOUS DECORATING PROCESSES. 219 

process of crystallization is best conducted in a cool 
situation. When the objects to be crystallized are put 
into the solution while quite cold, the crystals are apt 
to be formed too big ; on the other hand, should it be too 
hot, the crystals will be small in proportion. The best 
temperature is about 95° F. ^ 

No. 2. — Dissolve separately in tumblers of water, ^ 
oz. each of sulphate of alumina, sulphate of copper, sul- 
phate of soda, sulphate of potash, sulphate of zinc, sul- 
phate of magnesia and sulphate of iron. When dis- 
solved, pour all the solutions together into an evaporating 
dish and mix well with a glass rod. Place the dish in a 
warm place where it cannot be affected by dust and 
where it is not liable to be agitated. When evaporation 
has taken place, the whole will begin to shoot out into 
crystals. Their color and peculiar form of crystalliza- 
tion will distinguish each crystal separately, and the 
whole together will display a very curious and pleasing 
appearance. Preserve carefully from rust. 

Preservation of the Natural Colors of Flowers. 

No. 1. — A method of preserving the natural colors of 
flowers consists in dusting salicylic acid on the plants 
as they lie in the press and removing it again with a 
brush when the flowers are dry. Red colors in particu- 
lar are well preserved by this agent. Another method 
of applying the same preservative agent is to use a solu- 
tion of 1 part of salicylic acid in 14 parts of alcohol by 
means of blotting-paper or cotton-wool soaked in it and 
placed above and below the flowers. As an improvement 
in the method of using sulphuric acid for preserving the 



220 DECORATION OF METAL, WOOD, GLASS, ETC. 

color, as in the case of delicate flowers, they may be 
placed loosely between sheets of vegetable parchment 
before immersion in the liquid, so as to preserve their 
natural form. 

No. 2. — Insert the stems in water in which 25 grains 
of ammonium chloride (salammoniac) have been dis- 
solved. Flowers can be preserved in this way for 15 to 
30 days. To preserve them permanently for several 
months, dip them into limpid gum water and then allow 
them to drain. The gum forms a complete coating on 
the stems and petals and preserves their shape and color 
long after they have become dry. 

Flowers in water can be preserved for about two 
weeks by putting a little nitrate of potash or carbonate 
of soda in the water in which the flowers are left stand- 



INDEX. 



Alabaster, Bronze for, 2. 

Etching, 129. 

Staining, 197. 
Alloys for Gilding Metals, 168. 
Aluminum Plating, 27. 
Amalgam, Bronzing, 22. 

Gilding, 166. 
Aniline Bronzing Fluids, 2. 
" Colors for Feathers, 
36. 
Antique Brass, 11. 



Bicycle Enamel, 69. 
Bleaching Ivory, 49. 
Bone, Silvering, 86. 

" Staining, 43-48. 
Book Backs, Gilding, 149. 
Books, Gilding Edges of, 148. 
Brass and Copper, Gilding, 

89. 
Brass and Copper, Oxidizing, 

186. 
Brass, Antique, 11. 

Blue or Gray Finish 

on, 165. 
Brass, Bronzes for, 3-6. 

" Cleansing, 20. 
Dips for, 28-30. 
Etching, 129. 

" Gold and Orange Stain 

for, 20. 



Brass, Green Bronzing of, 20. 
" Lacquering, 172. 
" Platinizing, 25. 

Signs, Etching, 130. 
" Silvering, 95. 
Brick, Staining, 197, 198. 
Brilliance of Gilded or Plated 

Ware, 28. 
Bronze, Etching, 130. 

" for Alabaster Fig- 
ures, 2. 
Bronze for Plaster of Paris 

Figures, 2, 15, 24. 
Bronze, Galvanizing, 54. 
Gilding, 90. 
" Imitation of Mildew 
on, 11. 
Bronze Powder, Copper-col- 
ored, 22. 
Bronze Powders, Commercial, 

22-24. 
Bronzing, 1-17. 

Amalgam, 22. 
Copper, 10, 18. 
" Electrotypes, 10. 

" Feathers, 6. 

Fluids, 2, 3, 4, 5, G. 
Gun Barrels, 6. 
Inlaid Work, 7. 
Iron, 7, 8, 21. 
" Iron Wire, 8. 

Paper, 11. 
" Powder for Iron, 

Size for, 9. 



221 



•) 



INDEX. 



Bronzing Powders, 13, 14, 15. 

Rifles, 16. 

Steam Pipes, 7. 

Tin Castings, 17. 

Wood, 7, 16. 

Zinc, 17. 
Browning Gun Barrels, 6, 11, 

12, 13. 
Browning Iron and Steel, 13. 
Burnishing Gold Leaf, 160. 
Buttons, Staining Pearl, 216. 



Cameos, Imitation, 110. 
Cards, Gilding Edges of, 150. 
Cast-iron, Copper-coating, 54, 

55. 
Cast-iron, Enameling, 51, 64, 

66. 
Cast-iron, Silvering, 96. 

Tinning, 52, 53, 55. 
China for "Firing," Gilding, 

159. 
China, Gilding, 153. 

Painting, Gold Luster 
for, 154. 
China, Prismatic Colors for, 

113. 
Coloring Metals, 28-32. 

" by Sulphides, 
32. 
Commercial Bronze Powders, 

22. 
Copper Bronze, 14. 

Bronzing, 10, 18. 
" -coating Cast-iron, 54. 

Steel, 54. 
" -colored Bronze Pow- 
der, 22. 
Copper-colored Tin, 17. 



Copper, Dips for, 30. 

Enameling, 68. 

Etching, 130. 

Galvanizing, 54. 

Gilding, 27. 

Green Bronzing of, 20. 

Platinizing, 25, 189. 

Re-Tinning, 60. 

Silvering, 86, 92. 
Coral, Imitation, 109. 
Cotton, Gilding, 151. 
Crystals, Ornamental, 218. 
Cutlery, Etching, 131. 
Frosling, 141. 

D 

Damaskeening, 142. 

Drawing on Ivory, 48. 

Drawings Mounted on Linen, 
34. 

Drawing on Glass, 35. 

Drawings, To Fix, 34. 

" To Mount and Var- 

nish, 35. 

Drawings, Waterproof, 35. 

Dutch Foil, 41, 42. 

M Gold, Renovating, 41. 

E 

Electrotypes, Bronzing, 10. 
Embossing Glass, 156. 
Enamel, Niello, 68. 
Enameling Bicycles, 69. 

Cast-iron, 51, 64, 
66. 
Enameling Copper, 68. 

Sheet-iron, 6T. 
Enamels, 51-69. 

" for Porcelain, 115- 
119. 
Engraving on Glass, 70. 



INDEX. 



223 



Etching, 127-143. 

Alabaster, 129. 

Brass, 129. 

Brass Signs, 130. 

Bronze, 130. 

Copper, 127-130. 

Cutlery, 131. 

Films and Grounds, 
134. 
Etching Glass, 70, 74, 132. 

Grounds for, 134. 

Ivory, 48, 135. 

Names on Tools, 135. 

Silver, 135. 

Steel, 135-138. 

Photographs on 
Glass, 133. 
Etching Zinc, 138. 
Etruscan Ware, Gilding, 161. 

F 

Fabrics with Metallic Coat- 
ings, 99. 

Feathers, Bronzing, 6. 

Staining, with Ani- 
line Colors, 36. 

Films for Etching, 134. 

Fixing Drawings, 34. 

Floors, Staining, 124. 

Flowers, Preserving Colors of, 
219. 

Foils, Jewelers', 37-42. 

French Polishing, 190-193. 

Frosted Glass, 76. 

Frosting Cutlery, 141. 
Silver, 144. 

G 

Galvanizing Copper, Bronze, 
etc., 54. 



Galvanizing Iron, 53. 

Gilded Paper, Renovating, 41. 

Ware, Brilliant, 28. 
Gilding Amalgam, 166. 

" and Silvering Leather, 
82, 
Gilding Book Backs, 149. 

" Brass and Copper, 89. 
" Bronze, 90. 

by Dipping, 89. 
China, 153. 
" " for "Firing," 

159. 
Gilding Copper by Boiling, 27. 
Cotton, 151. 
Dry Process of, 163, 
164. 
Gilding Edges of Books, 148. 
" " Cards, 150. 
" Etruscan Ware, 161. 
Fire, 166. 
Glass, 71, 154. 
" Granite, 159. 
" Improving Inferior, 
91. 
Gilding Iron and Steel, 160. 
" Ivory, 151. 
" Leather-bound Books, 
150. 
Gilding Letters on Marble, 

152. 
Gilding Liquid, 168. 

" Metal, Mixtures for, 
168. 
Gilding, Oil, 170. 

on Wood, 79. 
Powder, A, 90. 
" Processes, Materials 
for, 168. 
Gilding Show Windows, 72. 
Solutions, 89, 90. 



224 



INDEX. 



Gilding Steel, 19. 

Wet Process of, 162, 
165. 
Gilding with Japanners' Size ; 

82. 
Gilt Work, Coloring, 92. 
Glass, Attaching Photographs 

to, 76. 
Glass Balls and Globes, Sil- 
vering, 94, 95, 96. 
Glass, Colored Designs on, 70. 
Drawing on, 35. 
" Embossing and Gild- 
ing, 156. 
Glass, Engraving on, 70. 

Etching, 70, 74, 132. 
Photographs 
on, 133. 
Glass, Frosted, 76. 

Gilding, 71, 154. 
" Iridescent, 217. 
" Mother-o'-Pearl on, 74. 

Painting, 111. 
" Platinizing, 77. 

Prints Affixed to, 215. 
Signs, 73. 

Silvering, 72, 83, 93, 94, 
96. 
Glass, Transparent Designs 

on, 73. 
Glazes, Vitreous, 51-69. 
Gold and Orange Stain for 

Brass, 20. 
Gold Articles, Brightening, 

161. 
Gold Bronze Powder, 13. 
" Lacquer for Silver Leaf, 
161. 
Gold Leaf, Burnishing, 160. 
" for Paper, 170. 
H Mosaic, 14. 



Gold Powder, 14, 160. 

A Red, 14. 
" Imitation, 14. 

" Removing Tarnish from, 

165. 
Granite, Gilding, 159. 
Gr^en Bronzing of Copper or 

Brass, 20. 
Grounds for Etching, 134. 
Gun Barrels, Browning, 6, 11, 

12, 13. 



Imitation Cameos, 110. 
Coral, 109. 
Gold Powder, 14. 
" Japanning, 183. 

Leather, 216. 
Malachite, 106. 
Marble, 102. 
" Mother - o' - Pearl, 

102. 
Imitation Tortoise Shell, 110. 
Inlaid Work, Bronzing, 7. 
Iridescent Glass, 217. 
Metal, 32. 
Paper, 101. 
Iron and Steel, Browning, 13. 
" Bronzing, 7, 8, 21. 
" Damaskeening, 143. 
" Galvanizing, 53. 
" Gilding, 160. 
" Nickeling, 24. 
" Silvering, 87. 
" Tinning, 60. 
Ivory, Bleaching, 49. 
Dyeing, 43-48. 
Etching, 48, 135. 
Flexible, 49. 
Gilding, 151. 
Silvering, 50, 86. 



INDEX. 



225 



Ivory, Softening, 49. 

" Staining Vegetable, 
126. 

J 

Japanese Lacquered Work, 

Renovating, 185. 
Japanners' Size, Gilding with, 

82. 
Japanning, 173-183. 
Jewelers' Foils, 37-42. 



Lacquers and Lacquering, 172. 
Leather, Gilding, 82, 150. 

Imitation, 216. 

Japanning, 183. 

Silvering, 82. 
Linen and Shirting, Painting 

on, 100. 
Luminous Paper, 99. 
Lustre Ware, Decorative, 114. 

M 
Malachite, Imitation, 106. 
Maple Wood Silver Gray, 

Staining, 123. 
Marble, Imitation, 102. 

Staining, 36, 198. 
To Gild Letters on, 
152. 
Metal, Iridescent, 32. 
Metals, Enameling, 61. 

" Silvering, 85. 
Mirrors for Telescopes, Sil- 
vering, 86. 
Moire Metallique, 55. 
Mosaic Gold, 14. 
Mother-o'-Pearl, Imitation, 
102. 



Mother-o'-Pearl on Glass, 74. 
To Dye, 37. 
" " Veneers, Imi- 

tation, 104. 

N 

Nickeling Iron, 24. 
Niello Enamel, 68. 



Oak, Darkening, 206. 

Optical Instruments, Finish- 
ing, 165. 

Osiers, Staining, 209-214. 

Oxidizing Brass, Copper and 
Silver, 186. 

Oxidizing with Platinum, 186. 



Painting China, Gold Luster 

for, 154. 
Painting Glass, Porcelain, etc.,, 

111. 
Painting on Silk, Satin, Shirt- 
ing or Linen, 100. 
Painting Zinc, 21. 
Paper, Bronzing, 11. 

Gold Leaf for, 170. 
" Iridescent, 101. 
" Luminous, 99. 
" Oil and Waterproof, 
99. 
Paper, Renovating Gilded, 41. 
Pasteboard the Color of 

Leather, 215. 
Pearl Buttons, Staining, 216. 
Photochromotypy, 217, 



220 



INDEX. 



Photographic Negatives, Pre- 
serving, 217. 

Photographs on Glass, Etch- 
ing, 133. 

Photographs to Glass, Attach- 
ing, 76. 

Piano Keys, Polishing, 195. 

Piping, Bronzing Steam, 7. 

Porcelain, Enamels for, 115- 
119. 

Porcelain, etc., Lusters for, 
112. 

Porcelain, Metallic Colors for, 
111. 

Porcelain, Painting, 111. 

Prismatic Colors for China, 
113. 

Prints Affixed to Glass or 
Steel, 215. 

Plaster of Paris, Bronze for, 
24. 

Plaster of Paris Figures, 
Bronzing, 2, 15. 

Plaster of Paris, Polishing, 
195. 

Plaster, Silvering, 97. 

Plated Ware, Brilliant, 28. 

Plating, Aluminum, 27. 
Platinum, 25. 
Tin, 53, 56. 

Platinizing Copper and Sil- 
ver, 189. 

Platinizing Glass, 77. 
Metal, 25. 
" Metals Cheaply, 

188. 

Platinizing Silver, 146. 

Platinum, Oxidizing with, 
186. 

Platinum Plating, 25. 



Ribbons, Silvering, 101. 
Rifles, Bronzing, 16. 
Rust-resisting Coatings for 
Tools, 18. 

S 

Sheet-iron, Enameling, 67. 
Shells, Silvering, 97. 
Show Windows, Gilding, 72. 
Signs, Etching Brass, 130. 

Glass, 73. 
Size for Bronzing Powder for 

Iron, 9. 
Silk and Satin, Painting on, 

100. 
Silver, A Dead Luster on, 146. 
A Pink Tint on, 146. 
" Bronze Powder, 14. 
" Burnishing, 145. 
" Frosting, 144, 145. 
" Leaf to Look Like 
Gold, 161. 
Silver, Oxidizing, 186. 

Platinizing, 146, 189. 
Size, 97. 
Tree, 146. 

Wash for Worn Plated 
Ware, 93. 
Silver, Whitening, 144, 145. 
Silvering Bessemer Steel, 87. 
Bone, 86. 
" Brass, 95. 

Cast-iron, 96. 
Copper, 86. 
Fluid, 86. 

Glass, 72, 93, 94, 96. 
" " without Heat, 

83. 



INDEX. 



227 



Silvering Iron, 87. 

Ivory, 50, 86. 
Leather, 82. 
Metals, 85, 97. 
" Mirrors for Tele- 

scopes, 86. 
Silvering Plaster, 97. 

" Powder for Coating 

Copper, 92. 
Silvering Ribbons, 101. 
Shells, 97. 
Steel, 87. 
Textiles, 86. 
Wood, 86. 
Silverware, Preserving, 146. 
Staining Alabaster, 197. 
Bone, 43-48. 
Brick, 197. 
Feathers with Ani- 
line Colors, 36. 
Staining Floors, 124. 
" Ivory, 43-48. 

Marble, 36, 198. 
Mother-o'-Pearl, 37. 
Osiers, 209. 
Pearl Buttons, 216. 
Straw, 120-122. 
Tortoise Shell, 198. 
Veneers, 124-126. 
Wickerware, 209. 
Wood, 123, 198-209. 
Steam Pipes, Bronzing, 7. 
Steel, Browning Iron and, 13. 
" Copper-coating, 54. 
" Damaskeening, 142. 
" Etching, 135-138. 
" Gilding, 19, 160. 
" Prints Affixed to, 215. 
" Silvering, 87. 
Straw, Bleaching and Dyeing, 
120. 



Sulphides, Coloring Metals by, 
32. 



Tacks, Tinning, 55. 

Tea Trays, Japanning Old, 

184. 
Telescopes, Silvering Mirrors 

for, 86. 
Textiles, Silvering, 86. 

with Metallic Coat- 
ings, 99. 
Tin, A Crystalline Appear- 
ance on, 55. 
Tin Castings, Bronzing, 17. 
" Copper-colored, 17. 
" Japan Flow for, 184. 
" Plating, 53, 56. 
" Transparent Japan for, 
185. 
Tinning Cast-iron, 52, 53, 55. 
Cold, 53. 
" Copper, 60. 
Iron, 59. 
Tacks, 55. 
Tools, Marking, 135. 

" Rust - resisting Coat- 
ings for, 18. 
Tortoise Shell, Imitation, 110. 
" Japan, 184. 
" Staining, 198. 
Tree, Silver, 146. 



Veneers, Staining, 124-126. 
Vitreous Glazes, 51-69. 
Vulcanite, Polishing, 195. 

W 

Waterproof Papers, 99. 



223 



INDEX. 



Wickerware, Staining, 209-214. 
Windows, Gilding Show, 72. 
Wire, Bronzing Iron, 8. 
Wood, Ageing, 203. 

Bronzing, 7, 16. 
Ebonizing, 203. 
Gilding, 79. 
" Polishing, in the 
Lathe, 194. 



Wood, Silvering, 86. 

Staining, 198-209. 

Z 

Zinc, Bronzing, 17. 

Coating on Iron, A, 53. 

" Dips for, 31. 

" Etching, 138. 

" Painting, 21. 
Zincography, 138-141. 



SHORT-TITLE CATALOGUE 

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i2mo, $i 75 

Armsby's Manual of Cattle-feeding gvo> 4 00 

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Elliott's Engineering for Land Drainage • i2mo ^ % QQ 

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Snow's Principal Species of Wood 8vo, 3 50 

Sondericker's Graphic Statics with Applications to Trusses, Beams, and Arches. 

8vo, 2 3 

Towne's Locks and Builders' Hardware i8mo, morocco, 3 00 

Wait's Engineering and Architectural Jurisprudence 8vo, 6 00 

Sheep, 6 50 
Law of Operations Preliminary to Construction in Engineering and Archi- 
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Sheep, 5 50 

Law of Contracts 8vo, 3 00 

Wood's Rustless Coatings: Corrosion and Electrolysis of Iron and Steel. .8vo, 4 00 

Woodbury's Fire Protection of Mills 8vo, 2 50 

Worcester and Atkinson's Small Hospitals, Establishment and Maintenance, 
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i2mo, 1 25 

The World's Columbian Exposition of 1893 Large 4to, 1 00 

ARMY AND NAVY. 

Bernadou's Smokeless Powder, Nitro-cellulose, and the Theory of the Cellulose 

Molecule i2mo, 2 50 

* Bruff's Text-book Ordnance and Gunnery 8vo, 6 00 

Chase's Screw Propellers and Marine Propulsion 8vo, 3 00 

Cloke's Gunner's Examiner 8vo, 1 50 

Craig's Azimuth 4to, 3 50 

Crehore and Squier's Polarizing Photo-chronograph 8vo, 3 00 

Cronkhite's Gunnery for Non-commissioned Officers 241110, morocco, 2 00 

* Davis's Elements of Law 8vo, 2 50 

* Treatise on the Military Law of United States 8vo, 7 00 

Sheep, 7 50 

De Brack's Cavalry Outposts Duties. (Carr.) 24mo, morocco, 2 00 

Dietz's Soldier's First Aid Handbook i6mo, morocco, 1 25 

* Dredge's Modern French Artillery 4to, half morocco, 15 00 

Durand's Resistance and Propulsion of Ships 8vo, 5 00 

* Dyer's Handbook of Light Artillery i2mo, 3 00 

Eissler's Modern High Explosives 8vo, 4 00 

* Fiebeger's Text-book on Field Fortification Small 8vo, 2 00 

Hamilton's The Gunner's Catechism i8mo, 1 00 

* Hoff's Elementary Naval Tactics 8vo, 1 50 

Ingalls's Handbook of Problems in Direct Fire 8vo, 4 00 

* Ballistic Tables 8vo, 1 50 

* Lyons's Treatise on Electromagnetic Phenomena. Vols. I. and H. .8vo, each, 6 00 

* Mahan's Permanent Fortifications. (Mercur.) 8vo, half morocco, 7 50 

Manual for Courts-martial i6mo, morocco, 1 50 

* Mercur's Attack of Fortified Places i2mo, 2 00 

* Elements of the Art of War 8vo, 4 00 

Metcalf's Cost of Manufactures — And the Administration of Workshops. .8vo, 5 00 

* Ordnance and Gunnery. 2 vols i2mo, 5 00 

Murray's Infantry Drill Regulations i8mo, paper, 10 

Nixon's Adjutants' Manual 24010, 1 00 

Peabody's Naval Architecture 8vo, 7 50 



* .rhelps's Practical Marine Surveying 8vo, 2 50 

Powell's Army Officer's Examiner i2mo, 4 00 

Sharpe's Art of Subsisting Armies in War i8mo. morocco, 1 50 

* Walke's Lectures on Explosives 8vo, 4 00 

* Wheeler's Siege Operations and Military Mining 8vo, 2 00 

Winthrop's Abridgment of Military Law nco, 2 50 

WoodhulPs Notes on Military Hygiene i6mo, 1 50 

Young's Simple Elements of Navigation i6mo, morocco, 1 00 

Second Edition, Enlarged and Revised . i6mo, morocco, 2 00 

ASSAYING. 

Fletcher's Practical Instructions in Quantitative Assaying with the Blowpipe. 

i2mo, morocco, 

Furman's Manual of Practical Assaying 8vo, 

Lodge's Notes on Assaying and Metallurgical Laboratory Experiments. . . .8vo, 

Miller's Manual of Assaying i2mo, 

O'Driscoli's Notes on the Treatment of Gold Ores 8vo, 

Ricketts and Miller's Notes on Assaying 8vo, 

Ulke's Modern Electrolytic Copper Refining 8vo, 

Wilson's Cyanide Processes i2mo, 

Chlorination Process i2mo, 

ASTRONOMY. 

Comstock's Field Astronomy for Engineers 8vo, 

Craig's Azimuth 4to, 

Deolittle's Treatise on Practical Astronomy 8vo, 

Gore's Elements of Geodesy - 8vo, 

Hayford's Text-book of Geodetic Astronomy 8vo, 

Merriman's Elements of Precise Surveying and Geodesy 8vo, 

* Michie and Harlow's Practical Astronomy 8vo, 

* White's Elements of Theoretical and Descriptive Astronomy i2mo, 

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Davenport's Statistical Methods, with Special Reference to Biological Variation. 

i6mo, morocco, 

Thome' and Bennett's Structural and Physiological Botany i6mo, 

Westermaier's Compendium of General Botany. (Schneider.) 8vo, 

CHEMISTRY. 

Adriance's Laboratory Calculations and Specific Gravity Tables i2mo, 

Allen's Tables for Iron Analysis 8vo, 

Arnold's Compendium of Chemistry. (Mandel.) Small 8vo, 

Austen's Notes for Chemical Students i2mo, 

Bernadou's Smokeless Powder. — Nitro-cellulose, and Theory of the Cellulose 

Molecule i2mo, 

Bolton's Quantitative Analysis 8vo, 

* Browning's Introduction to the Rarer Elements 8vo, 

Brush and Penfield's Manual of Determinative Mineralogy 8vo, 

Classen's Quantitative Chemical Analysis by Electrolysis. (Bolrwood.). .8vo, 
Cohn's Indicators and Test-papers i2mo, 

Tests and Reagents 8vo, 

Crafts's Short Course in Qualitative Chemical Analysis. (Schaeffer.). . . i2mo, 
Dolezalek's Theory of the Lead Accumulator (Storage Battery). (Von 

Ende.) i2mo, 

Drechsel's Chemical Reactions. (Merrill.) i2mo, 

Duhem's Thermodynamics and Chemistry. (Eurgess.) 8vo, 

Eissler's Modern High Explosives 8vo, 

Effront's Enzymes and their Applications. (Prescott.) \8vo, 

Erdmann's Introduction to Chemical Preparations. (Dunlap.) i2mo, 

3 



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Fletcher's Practical Instructions in Quantitative Assaying with the Blowpipe. 

i2mo, morocco, 

Fowler's Sewage Works Analyses i2mo 

Fresenius's Manual of Qualitative Chemical Analysis. (Wells.) Svo, 

Manual of Qualitative Chemical Analysis. Part I. Descriptive. ( Wells.) 8vo, 
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2 vols '. 8vo, 

Fuertes's Water and Public Health i2mo, 

Furman's Manual of Practical Assaying 8vo, 

* Getman's Exercises in Physical Chemistry i2mo, 

Gill's Gas and Fuel Analysis for Engineers i2mo, 

Grotenfelt's Principles of Modern Dairy Practice. (WolL 1 12 mo, 

Hammarsten's Text-book of Physiological Chemistry. (Mandel.)- Svo, 

Helm's Principles of Mathematical Chemistry. (Morgan. > i2mo, 

Hering's Ready Reference lubles (Conversion Factors; iCn.c morocco, 

Hind's Inorganic Chemistry 8vo, 

* Laboratory Manual for Students i2mo, 

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Text-book o? Organic Chemistry. (Walker and Mott.) 8vo, 

* Laboratory Manual of Organic Chemistry. (Walker.) i2mo, 

Hopkins's Oil-chemists' Handbook Svo, 

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Keep's Cast Iron 8vo, 

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Leach's The Inspection and Analysis of Food with Special Reference to State 

Control 8vo, 

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Mandel's Handbook for Bio-chemical Laboratory i2mo, 

* Martin's Laboratory Guide to Qualitative Analysis with the Blowpipe . . i2mo, 
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3d Edition, Rewritten 8vo, 

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Matthew's The Textile Fibres Svo, 

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Miller's Manual of Assaying i2mo, 

Mixter's Elementary Text-book of Chemistry i2mo, 

Morgan's Outline of Theory of Solution and its Results i2mo, 

Elements of Physical Chemistry i2mo, 

Morse's Calculations used in Cane-sugar Factories i6mo, mcrocco, 

Mulliken's General Method for the Identification of Pure Organic Compounds. 

Vol. I Large Svo, 

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O'DriscolTs Notes on the Treatment of Gold Ores Svo, 2 co 

Ostwald*? Conversations on Chemistry. Part One (Ramsey.) i2mo, 1 50 

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* Penfield's Notes on Determinative Mineralogy and Record cf Mireral Tests, 

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Pinner's Introduction to Organic Chemistry. (Austen.) i2mo, 1 50 

Poole's Calorific Power of Fuels 8vo, 3 00 

Prescott and Winslow's Elements of Water Bacteriology, with Special Refer- 
ence to Sanitary Water Analysis i2mo, 1 25 

4 



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* Reisig's Guide to Piece-dyeing • 8vo, 25 00 

Richards and Woodman's Air, Water, and Food from a Sanitary Standpoint 8vo, 
Richards's Cost of Living as Modified by Sanitary Science i2mo, 

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* Richards and Williams's The Dietary Computer 8vo, 

Ricketts and Russell's Skeleton Notes upon Inorganic Chemistry. (Part I. 

Non-metallic Elements.) 8vo, morocco 2 

Ricketts and Miller's Notes on Assaying 8vo, 

Rideal's Sewage and the Bacterial Purification of Sewage 8vo, 

Disinfection and the Preservation of Food. . 8vo, 

Rigg's Elementary Manual for the Chemical Laboratory 8vo, 

Rostoskf's Serum Diagnosis. (Bolduan.) i2mo, 

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Sabin's Industrial and Artistic Technology of Paints and Varnish 8vo, 

Salkowski's Physiological and Pathological Chemistry. (Orndorff.) 8vo, 

Schimpf's Text-book of Volumetric Analysis i2mo, 

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Spencer's Handbook for Chemists of Beet-sugar Houses i6mo, morocco, 

Handbook for Sugar Manufacturers and their Chemists. . i6mo, morocco, 
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* Tillman's Elementary Lessons in Heat 8vo, 

* Descriptive General Chemistry - 8vo, 

Treadwell's Qualitative Analysis. (Hall.) 8vo, 

Quantitative Analysis. (Hall.) 8vo, 

Turneaure and Russell's Public Water-supplies 8vo, 

Van Deventer's Physical Chemistry for Beginners. (Boltwood.) i2mo, 

* Walke's Lectures on Explosives 8 tt o, 

Washington's Manual of the Chemical Analysis of Rocks. . 8"o, 

Wassermann's Immune Sera : Hemolysins, Cytotoxins, and Precipitins. (Bol- 
duan.) nmo, 

Well's Laboratory Guide in Qualitative Chemical Analysis 8vo, 

Short Course in Inorganic Qualitative Chemical Analysis for Engineering 

Students i2mo, 

Text-book of Chemical Arithmetic nmo, 

Whipple's Microscopy of Drinking-water 8vo, 

Wilson's Cyanide Processes nmo, 

Chlorination Process i2mo, 

Wulling's Elementary Course in Inorganic, Pharmaceutical, and Medical 

Chemistry i2mo, 2 00 

CIVIL ENGINEERING. 
BRIDGES AND ROOFS. HYDRAULICS. MATERIALS OF ENGINEERING. 
RAILWAY ENGINEERING. 

Baker's Engineers' Surveying Instruments nmo, 3 00 

Bixby's Graphical Computing Table Paper 19^X24! inches. 25 

** Burr's Ancient and Modern Engineering and the Isthmian Canal. (Postage, 

27 cents additional.) 8vo, 3 50 

Comstock's Field Astronomy for Engineers 8vo, 2 50 

Davis's Elevation and Stadia Tables 8vo, 1 00 

Elliott's Engineering for Land Drainage nmo, 1 50 

Practical Farm Drainage nmo, 1 00 

*Fiebeger's Treatise on Civil Engineering 8vo, 5 00 

Folwell's Sewerage. (Designing and Maintenance.) 8vo, 3 00 

Freitag's Architectural Engineering. 2d Edition, Rewritten 8vo, 3 50 

French and Ives's Stereotomy 8vo, 2 50 

Goodhue's Municipal Improvements nmo, 1 75 

Goodrich's Economic Disposal of Towns' Refuse 8vo, 3 50 

Gore's Elements of Geodesy 8vo, 2 50 

Hayford's Text-book of Geodetic Astronomy Svo, 3 00 

Hering's Ready Reference Tables (Conversien Factors) i6mo, morocco, 2 so 

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Howe's Retaining Walls for Earth nmo, 

Johnson's (J. B.) Theory and Practice of Surveying Small 8vo, 

Johnson's vL. J.) Statics by Algebraic and Graphic Methods 8vo, 

Laplace's Philosophical Essay on Probabilities. (,Truscott and Emory.). i2mo, 
Mahan's Treatise on Civil Engineering. (1873.) (Wood. 8vo, 

* Descriptive Geometry 8vo, 

Merriman's Elements of Precise Surveying and Geodesy 8vo, 

Elements of Sanitary Engineering 8vo, 

Merriman and Brooks's Handbook for Surveyors i6mo, morocco, 

Nugent's Plane Surveying 8vo, 

Ogden's Sewer Design i2mo, 

Patton's Treatise on Civil Engineering 8vo half leather, 

Reed's Topographical Drawing and Sketching 4to, 

Rideal's Sewage and the Bacterial Purification of Sewa^ 8vo, 

Siebert and Biggin's Modern Stone-cutting and Masonry 8vo, 

Smith's Manual of Topographical Drawing. (McMillan. ) 8vo, 

Sondericker's Graphic Statics, with Applications to Trusses, Learns, and Arches. 

8vo, 
Taylor and Thompson's Treatise on Concrete, Plain and Reinforced 8vo, 

* Trautwine's Civil Engineer's Pocket-book i6mo, morocco, 

Wait's Engineering and Archi ectural Jurisprudence 8vo, 

Sheep, 
Law of Operations Preliminary to Construction in Engineering and Archi- 
tecture 8vo, 

Sheep, 

Law of Contracts 8vo, 

Warren's Stereotomy — Problems in Stone-cutting 8vo, 

Webb's Problems in the Use and Adjustment of Engineering Instruments. 

i6mo, morocco, 

* Wheeler s Elementary Course of Civil Engineering 8vo, 

Wilson's Topographic Surveying 8vo, 

BRIDGES AND ROOFS. 

Boiler's Practical Treatise on the Construction of Iron Highway Bridges. 8to, 

* Thames River Bridge 4to, paper, 

Burr's Course on the Stresses in Bridges and Roof Trusses, Arched Ribs, and 

Suspension Bridges 8vo, 

Burr and Falk's Influence Lines for Bridge and Roof Computations. . . 8vo, 

Du Bois's Mechanics of Engineering. Vol. II Small 4to, 

Foster's Treatise on Wooden Trestle Bridges 4to, 

Fowler's Ordinary Foundations 8vo, 

Greene's Roof Trusses 8vo, 

Bridge Trusses 8vo, 

Arches in Wood, Iron, and Stone 8vo, 

Howe's Treatise on Arches 8vo, 

Design of Simple Roof-trusses in Wood and Steel 8vo, 

Johnson, Bryan, and Turneaure's Theory and Practice in the Designing of 

Modern Framed Structures Small 4to, 10 00 

Merriman and Jacoby's Text-book on Roofs and Bridges: 

Part I. Stresses in Simple Trusses 8vo, 2 50 

Part II. Graphic Statics 8vo, 2 50 

Pari in. Bridge Design 8vo, 2 50 

Part TV. Higher Structures 8vo, 2 50 

Morison's Memphis Bridge 4to, 10 00 

Waddell's De Pontibus, a Pocket-book for Bridge Engineers. . i6mo, morocco, 3 00 

Specifications for Steel Bridges nmo. 1 25 

Wood's Treatise on the Theory of the Construction of Bridges and Roofs. . 8vo, 2 CO 
Wright's Designing of Draw-spans: 

Part I. Plate-girder Draws 8vo, 2 50 

Part H. Riveted-truss and Pin-connected Long-span Draws 8vo, 2 50 

Two parts in one volume . . 8vo, 3 50 

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HYDRAULICS. 

Bazin's Experiments upon the Contraction of the Liquid Vein Issuing from 

an Orifice. (Trautwine.) 8vo, 2 00 

Bovey's Treatise on Hydraulics 8vo, 5 00 

Church's Mechanics of Engineering 8vo, 6 00 

Diagrams of Mean Velocity of Water in Open Channels paper, 1 50 

Coffin's Graphical Solution of Hydraulic Problems i6mo, morocco, 2 50 

Flather's Dynamometers, and the Measurement of Power i2mo, 3 00 

Folwell's "Water-supply Engineering 8vo, 4 00 

Frizell's Water-power 8vo, 5 00 

Fuertes's Water and Public Health i2mo, 1 50 

Water-filtration Works i2mo, 2 50 

Ganguillet and Kutter's General Formula for the Uniform Flow of Water in 

Rivers and Other Channels. (Hering and Trautwine.) 8vo, 4 00 

Hazen's Filtration of Public Water-supply 8vo, 3 00 

Hazlehurst's Towers and Tanks for Water-works 8vo, 2 50 

Herschel's 115 Experiments on the Carrying Capacity of Large, Riveted, Metal 

Conduits 8vo, 2 00 

Mason's Water-supply. (Considered Principally from a Sanitary Standpoint.) 

8vo, 4 00 

Merriman's Treatise on Hydraulics 8vo, 5 00 

* Michie's Elements of Analytical Mechanics 8vo, 4 00 

Schuyler's Reservoirs for Irrigation, Water-power, and Domestic Water- 
supply Large 8vo, 5 00 

** Thomas and Watt's Improvement of Rivers. (Post., 44c. additional. ).4to, 6 00 

Turneaure and Russell's Public Water-supplies 8vo, 5 00 

Wegmann's Design and Construction of Dams 4to, 5 00 

Water-supply of the City of New York from 1658 to 1895 4to, 10 00 

Williams and Hazen's Hydraulic Tables 8vo, 1 50 

Wilson's Irrigation Engineering Small 8vo, 4 00 

Wolff's Windmill as a Prime Mover 8vo, 3 00 

Wood's Turbines. 8vo, 2 50 

Elements of Analytical Mechanics 8vo, 3 00 

MATERIALS OF ENGINEERING. 

Baker's Treatise on Masonry Construction 8vo, 5 00 

Roads and Pavements 8vo, 5 00 

Black's United States Public Works Oblong 4to, 5 00 

Bovey's Strength of Materials and Theory of Structures 8vo, 7 50 

Burr's Elasticity and Resistance of the Materials of Engineering 8vo, 7 50 

Byrne's Highway Construction 8vo, 5 00 

Inspection of the Materials and Workmanship Employed in Construction. 

i6mo, 3 00 

Church's Mechanics of Engineering 8vo, 6 00 

Du Bois's Mechanics of Engineering. Vol. I Small 4to, 7 50 

*Eckei's Cements, Limes, and Plasters 8vo, 6 00 

Johnson's Materials of Construction Large 8vo, 6 00 

Fowler's Ordinary Foundations 8vo, 3 50 

Keep's Cast Iron 8vo, 2 50 

Lanza's Applied Mechanics 8vo, 7 50 

Marten's Handbook on Testing Materials. (Henning.) 2 vols 8vo, 7 50 

Merrill's Stones for Building and Decoration 8vo, 5 00 

Merriman's Mechanics of Materials. 8vo, 5 00 

Strength of Materials i2mo, 1 00 

Metcalf's Steel. A Manual for Steel-users i2mo, 2 00 

Patton's Practical Treatise on Foundations 8vo, 5 00 

Richardson's Modern Asphalt Pavements 8vo, 3 00 

Richey's Handbook for Superintendents of Construction . . i6mo, mor., 4 00 

Rockwell's Roads and Pavements in France i2mo, 1 25 

7 



Sabin's Industrial and Artistic Technology of Paints and Varnish 8vo, 3 00 

Smith's Materials of Machines nmo, 1 00 

Snow's Principal Species of Wood 8vo, 3 50 

Spalding's Hydraulic Cement i2mo, 2 00 

Text-book on Roads and Pavements i2mo, 2 00 

Taylor and Thompson's Treatise on Concrete, Plain and Reinforced 8vo, 5 00 

Thurston's Materials of Engineering. 3 Parts 8vo, 8 00 

Part I. Non-metallic Materials of Engineering and Metallurgy 8vo, 2 00 

Part II. Iron and Steel 8vo, 3 50 

Part III. A Treatise on Brasses, Bronzes, and Other Alloys and their 

Constituents 8vo, 2 50 

Thurston's Text-book of the Materials of Construction 8vo, 5 00 

Tillson's Street Pavements and Paving Materials 8vo, 4 00 

Waddell's De Pontibus. ( n Pocket-book for Bridge Engineers.). . i6mo, mor., 3 00 

Specifications for Stt 1 Bridges i2mo, 1 25 

Wood's (De V.) Treatise on the Resistance of Materials, and an Appendix on 

the Preservation of Timber 8vo, 2 00 

Wood's (De V.) Elements of Analytical Mechanics 8vo, 3 00 

Wood':, (M. P.) Rustless Coatings: Corrosion and Electrolysis of Iron and 

Steel 8vo, 4 00 

RAILWAY ENGINEERING. 

Andrew's Handbook for Street Railway Engineers 3x5 inches, morocco, 1 25 

Berg's Buildings and Structures of American Railroads 4to, 5 00 

Brook's Handbook of Street Railroad Location i6mo, morocco, 1 50 

Butt's Civil Engineer's Field-book i6mo, morocco, 2 50 

Crandall's Transition Curve i6mo, morocco, 1 50 

Railway and Other Earthwork Tables 8vo, 1 50 

Dawson's "Engineering" and Electric Traction Pocket-book. . i6mo, morocco, 5 00 

Dredge's History of the Pennsylvania Railroad: (1879) Paper, 5 00 

* Drinker's Tunnelling, Explosive Compounds, and Rock Drills. 4to, half mor., 25 00 

Fisher's Table of Cubic Yards Cardboard, 25 

Godwin's Railroad Engineers' Field-book and Explorers' Guide. . . i6mo, mor., 2 50 

Howard's Transition Curve Field-book. . . i6mo, morocco, 1 50 

Hudson's Tables for Calculating the Cubic Contents of Excavations and Em- 
bankments 8vo, 1 00 

Molitor and Beard's Manual for Resident Engineers i6mo, 1 00 

Nagle's Field Manual for Railroad Engineers i6mo, morocco, 3 00 

Philbrick's Field Manual for Engineers 7 i6mo, morocco, 3 00 

Searles's Field Engineering i6mo, morocco, 3 00 

Railroad Spiral i6mo, morocco, 1 50 

Taylor's Prismoidal Formulae and Earthwork 8vo, 1 50 

* Trautwine's Method of Calculating the Cube Contents of Excavations and 

Embankments by the Aid of Diagrams 8ro, 2 00 

The Field Practice of Laying Out Circular Curves for Railroads. 

i2mo, morocco, 2 50 

Cross-section Sheet Paper, 25 

Webb's Railroad Construction i6mo, morocco, 5 00 

Wellington's Economic Theory of the Location of Railways Small 8vo, 5 00 

DRAWING. 

Barr's Kinematics of Machinery 8vo, 2 50 

* Bartlett's Mechanical Drawing 8vo, 3 00 

* " " " Abridged Ed 8vo, 1 50' 

Coolidge's Manual of Drawing 8vo, paper 1 00 

Coolidge and Freeman's Elements of General Drafting for Mechanical Engi- 
neers Oblong 4to, 2 50 

Durley's Kinematics of Machines 8vo, 4 00 

Emch's Introduction to Projective Geometry and its Applications 8vo. 2 50 



Hill's Text-book on Shades and Shadows, and Perspective 8vo, 2 00 

Jamison's Elements of Mechanical Drawing 8vo, 2 50 

Advanced Mechanical Drawing 8vo, 2 00 

Jones's Machine Design: 

Part I. Kinematics of Machinery 8vo, 1 50 

Part II. Form, Strength, and Proportions of Parts 8vo, 3 00 

MacCord's Elements of Descriptive Geometry 8vo, 3 00 

Kinematics; or, Practical Mechanism 8vo, 5 00 

Mechanical Drawing 4to, 4 00 

Velocity Diagrams 8vo, 1 50 

* Mahan's Descriptive Geometry and Stone-cutting 8vo, 1 50 

Industrial Drawing. (Thompson.) 8vo, 3 50 

Moyer's Descriptive Geometry 8vo, 2 00 

Reed's Topographical Drawing and Sketching 4to, 5 00 

Reid's Course in Mechanical Drawing 8vo, 2 00 

Text-book of Mechanical Drawing and Elementary Machine Design. 8vo, 3 00 

Robinson's Principles of Mechanism 8vo, 3 00 

Schwamb and Merrill's Elements of Mechanism 8vo, 3 00 

Smith's Manual of Topographical Drawing. (McMillan.) Svo, 2 50 

Warren's Elements of Plane and Solid Free-hand Geometrical Drawing. i2mo, 1 00 

Drafting Instruments and Operations i2mo ; 1 25 

Manual of Elementary Projection Drawing i2mo, 1 5© 

Manual of Elementary Problems in the Linear Perspective of Form and 

Shadow nmo, 1 00 

Plane Problems in Elementary Geometry nmo, 1 25 

Primary Geometry nmo, 75 

Elements of Descriptive Geometry, Shadows, and Perspective 8vo, 3 50 

General Problems of Shades and Shadows 8vo, 3 00 

Elements of Machine Construction and Drawing Svo, 7 50 

Problems, Theorems, and Examples in Descriptive Geometry 8vo, 2 50 

Weisbach's Kinematics and Power of Transmission. (Hermann and Klein)8vo, 5 00 

Whelpley's Practical Instruction in the Ait of Letter Engraving nmo, 2 00 

Wilson's (H. M.) Topographic Surveying 8vo, 3 50 

Wilson's (V. T.) Free-hand Perspective 8vo, 2 50 

Wilson's (V. T r ) Free-hand Lettering 8vo, 1 00 

Woolf's Elementary Course in Descriptive Geometry Large 8vo, 3 00 



ELECTRICITY AND PHYSICS. 

Anthony and Brackett's Text-book of Physics. (Magie.) Small 8vo, 

Anthony's Lecture-notes on the Theory of Electrical Measurements. . . .nmo, 
Benjamin's History of Electricity, 8vo, 

Voltaic CelL 8vo, 

Classen's Quantitative Chemical Analysis by Electrolysis. (Boltwood.).8vo, 

Crehore and Squier's Polarizing Photo-chronograph 8vo, 

Dawson's "Engineering" and Electric Traction Pocket-book. i6mo, morocco, 
Dolezalek's Theory of the Lead Accumulator (Storage Battery). (Von 

Ende.) i2mo, 

Duhem's Thermodynamics and Chemistry. (Burgess.) 8vo, 

Flather's Dynamometers, and the Measurement of Power 1 2 mo, 

Gilbert's De Magnete. (Mottelay.) 8vo, 

Hanchett's Alternating Currents Explained i2mo, 

Hering's Ready Reference Tables (Conversion Factors) i6mo, morocco, 

Holman's Precision of Measurements 8vo, 

Telescopic Mirror-scale Method, Adjustments, ard Tests. . . .Large 8vo, 

Kinzbrunner's Testing of Continuous-Current Machines 8vo, 

Landauer's Spectrum Analysis. (Tingle.) 8vo, 

Le Chatelien's High-temperature Measurements. (Boudouard — Burgess.) nmo. 
Lob's Electrolysis and Electrosynthesis of Organic Compounds. (Lorenz.) nmo, 

9 



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* Lyons's Treatise on Electromagnetic Phenomena. Vols. I. and II. 8vo, each, 6 00 

* Michie's Elements of Wave Motion Relating to Sound and Light 8vo, 4 00 

Niaudet's Elementary Treatise on Electric Batteries. (Fishback. ) nmo, 2 50 

* Rosenberg's Electrical Engineering. (Haldane Gee — KinzbrunnerA . 8vo, 1 50 

Ryan, Norris, and Hoxie's Electrical Machinery. Vol. 1 8vo, 2 50 

Thurston's Stationary Steam-engines 8vo, 2 50 

* Tillman's Elementary Lessons in Heat 8vo, 1 50 

Tory and Pitcher's Manual of Laboratory Physics Small 8vo, 2 co 

Ulke's Modern Electrolytic Copper Refining 8vo, 3 00 

LAW. 

* Davis's Elements of Law 8vo, 

* Treatise on the Military Law of United States 8vo, 

* Sheep, 

Manual for Courts-martial i6mo, morocco, 

Wait's Engineering and Architectural Jurisprudence 8vo, 

Sheep, 
Law of Operations Preliminary to Construction in Engineering and Archi- 
tecture 8vo, 

Sheep, 

Law of Contracts 8vo, 

Winthrop's Abridgment of Military Law i2mo, 

MANUFACTURES. 

Bernadou's Smokeless Powder — Nitro-cellulose and Theory of the Cellulose 

Molecule i2mo, 2 50 

Bolland's Iron Founder i2mo, 2 50 

11 The Iron Founder," Supplement i2mo, 2 50 

Encyclopedia of Founding and Dictionary of Foundry Terms Used in the 

Practice of Moulding i2mo, 3 00 

Eissler's Modern High Explosives 8vo, 4 00 

Effront's Enzymes and their Applications. (PrescotO 8vo, 3 00 

Fitzgerald's Boston Machinist i2mo, 1 00 

Ford's Boiler Making for Boiler Makers i8mo, 1 00 

Hopkin's Oil-chemists' Handbook 8vo, 3 00 

Keep's Cast Iron 8vo, 2 50 

Leach's The Inspection and Analysis of Feod with Special Reference to State 

ControL Large 8vo, 7 50 

Matthesvs's The Textile Fibres 8vo, 3 50 

Metcalf's Steel. A Manual for Steel-users i2mo, 2 00 

Metcalfe's Cost of Manufactures — And the Administration of Workshops Svo, 5 00 

Meyer's Modern Locomotive Construction 4to, 10 00 

Morse's Calculations used in Cane-sugar Factories i6mo, morocco, 1 50 

* Reisig's Guide to Piece-dyeing 8vo, 25 00 

Sabin's Industrial and Artistic Technology of Paints and Varnish 8vo, 3 00 

Smith's Press-working of Metals 8vo, 3 00 

Spalding's Hydraulic Cement i2mo, 2 00 

Spencer's Handbook for Chemists of Beet-sugar Houses. ... i6mo, morocco, 3 00 

Handbook for Sugar Manufacturers and their Chemists . i6mo, morocco, 2 00 

Taylor and Thompson's Treatise on Concrete, Plain and Reinforced 8vo, 5 00 

Thurston's Manual of Steam-boilers, their Designs, Construction and Opera- 
tion 8vo, 5 00 

* Walke's Lectures on Explosives 8vo, 4 00 

Ware's Manufacture of Sugar. (In press.) 

West's American Foundry Practice i2mo, 2 50 

Moulder's Text-book nmo, 2 50 

10 



Wolff's Windmill as a Prime Mover 8vo, 3 o© 

Wood's Rustless Coatings: Corrosion and Electrolysis of Iron and Steel. .8vo, 4 o© 



MATHEMATICS. 

Baker's Elliptic Functions 8vo, 1 5© 

* Bass's Elements of Differential Calculus , i2mo, 4 oo 

Briggs's Elements of Plane Analytic Geometry 121210, 1 00 

Compton's Manual of Logarithmic Computations i2mo, 1 50 

Davis's Introduction to the Logic of Algebra 8vo, 1 50 

* Dickson's College Algebra Large i2mo, 1 50 

* Introduction to the Theory of Algebraic Equations .Large 12 mo, 1 25 

Emch's Introduction to Projective Geometry and its Applications 8vo, 2 50 

Halsted's Elements of Geometry 8vo, 1 75 

Elementary Synthetic Geometry 8vo, 1 50 

Rational Geometry i2mo, 1 75 

* Johnson's (J. B.) Three-place Logarithmic Tables: Vest-pocket size. paper, 15 

100 copies for 5 00 

* Mounted on heavy cardboard, 8X 10 inches, 25 

10 copies for 2 00 

Johnson's (W. W.) Elementary Treatise on Differential Calculus . .Small 8vo, 3 00 

Johnson's (W. W.) Elementary Treatise on the Integral Calculus. Small 8vo, 1 50 

Johnson's (W. W.) Curve Tracing in Cartesian Co-ordinates i2mo, 1 00 

Johnson's (W. W.) Treatise on Ordinary and Partial Differential Equations. 

Small 8vo, 3 50 

Johnson's (W. W.) Theory of Errors and the Method of Least Squares. i2mo, 1 50 

* Johnson's (W. W,) Theoretical Mechanics i2ino, 3 00 

Laplace's Philosophical Essay on Probabilities. (Truscott and Emory.) . i2mo, 2 00 

* Ludlow and Bass. Elements of Trigonometry and Logarithmic and Other 

Tables 8vo, 3 00 

Trigonometry and Tables published separately Each, 2 00 

* Ludlow's Logarithmic and Trigonometric Tables , 8vo, 1 00 

Maurer's Technical Mechanics 8vo, 4 00 

Merriman and Woodward's Higher Mathematics. , 8vo, 5 00 

Merriman's Method of Least Squares 8vo, 2 00 

Rice and Johnson's Elementary Treatise on the Differential Calculus. . Sm. 8vo, 3 00 

Differential and Integral Calculus. 2 vols, in one Small 8vo, 2 50 

Wood's Elements of Co-ordinate Geometry 8vo, 2 .00 

Trigonometry: Analytical, Plane, and Spherical i2mo, 1 00 



MECHANICAL ENGINEERING. 

MATERIALS OF ENGINEERING, STEAM-ENGINES AND BOILERS. 

Bacon's Forge Practice i2mo, 1 50 

Baldwin's Steam Heating for Buildings. .♦ i2ino, 2 50 

Barr's Kinematics of Machinery 8vo, 2 50 

* Bartlett's Mechanical Drawing 8vo, 3 00 

* " " " Abridged Ed 8vo, 150 

Benjamin's Wrinkles and Recipes i2mo, 2 00 

Carpenter's Experimental Engineering 8vo, 6 00 

Heating and Ventilating Buildings 8vo, 4 00 

Cary's Smoke Suppression in Plants using Bituminous Coal. (In Prepara- 
tion.) 

Clerk's Gas and Oil Engine Small 8vo, 4 00 

Coolidge's Manual of Drawing 8vo, paper, 1 00 

Coolidge and Freeman's Elements of General Drafting for Mechanical En- 
gineers Oblong 4to, 2 50 

11 



Cromwell's Treatise on Toothed Gearing i2mo, 

Treatise on Belts and Pulleys i2mo, 

Durley's Kinematics of Machines 8vo, 

Flather's Dynamometers and the Measurement of Power i2mo, 

Rope Driving i2mo, 

Gill's Gas and Fuel Analysis for Engineers i2mo, 

Hall's Car Lubrication i2mo, 

Hering's Ready Reference Tables (Conversion Factors) i6mo, morocco, 

Hutton's The Gas Engine 8vo, 

Jamison's Mechanical Drawing 8vo, 

Jones's Machine Design: 

Part I. Kinematics of Machinery 8vo, 

Part II. Form, Strength, and Proportions of Parts. 8vo, 

Kent's Mechanical Engineers' Pocket-book i6mo, morocco, 

Kerr's Power and Power Transmission 8vo, 

Leonard's Machine Shop, Tools, and Methods 8vo, 

*Lorenz's Modern Refrigerating Machinery. (Pope, Haven, and Dean.) . 8vo, 

MacCord's Kinematics; or, Practical Mechanism 8vo, 

Mechanical Drawing 4to, 

Velocity Diagrams 8vo, 

Mahan's Industrial Drawing. (Thompson.) 8vo, 

Poole s Calorific Power of Fuels 8vo, 

Reid's Course in Mechanical Drawing 8vo, 

Text-book of Mechanical Drawing and Elementary Machine Design. 8vo, 

Richard's Compressed Air i2mo, 

Robinson's Principles of Mechanism 8vo, 

Schwamb and Merrill's Elements of Mechanism 8vo, 

Smith's Press-working of Metals 8vo, 

Thurston's Treatise on Friction and Lost Work in Machinery and Mill 

Work 8vo, 

Animal as a Machine and Prime Motor, and the Laws of Energetics . i2mo, 

Warren's Elements of Machine Construction and Drawing 8vo, 

Weisbach's Kinematics and the Power of Transmission. (Herrmann — 

Klein.) 8vo, 

Machinery of Transmission and Governors. (Herrmann — Klein.). .8vo, 

Wolff's Windmill as a Prime Mover 8vo, 

Wood's Turbines 8vo, 



MATERIALS OF ENGINEERING. 

Bovey's Strength of Materials and Theory of Structures 8vo, 7 50 

Burr's Elasticity and Resistance or the Materials of Engineering. 6th Edition. 

Reset 8vo, 

Church's Mechanics of Engineering 8vo, 

Johnson's Materials of Construction 8vo, 

Keep's Cast Iron % 8vo, 

Lanza's Applied Mechanics 8vo, 

Martens's Handbook on Testing Materials. (Henning.) 8vo, 

Merriman's Mechanics of Materials. 8vo, 

Strength of Materials i2mo, 

Metcalf's Steel. A manual for Steel-users i2mo. 

Sabin's Industrial and Artistic Technology of Paints and Varnish 8vo, 

Smith's Materials of Machines i2mo, 

Thurston's Materials of Engineering 3 vols., 8vo, 

Part II. Iron and Steel 8vo, 

Part HI. A Treatise on Brasses, Bronzes, and Other Alloys and their 
Constituents 8vo, 

Text-book of the Materials of Construction 8^0, 

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Wood's (De V.) Treatise on the Resistance of Materials and an Appendix on 

the Preservation of Timber 8vo, 2 00 

Wood's (De V.) Elements of Analytical Mechanics 8vo, 3 00 

Wood's (M. P.) Rustless Coatings: Corrosion and Electrolysis of Iron and 

Steal. 8vo, 4 00 



STEAM-ENGINES AND BOILERS. 



Berry's Temperature-entropy Diagram i2mc, 

Carnot's Reflections on the Motive Power of Heat. (Thurston.) i2mo, 

Dawson's "Engineering" and Electric Traction Pocket-book. . . .i6mo, mor., 

Ford's Boiler Making for Boiler Makers i8mo, 

Goss's Locomotive Sparks 8vo, 

Hemenway's Indicator Practice and Steam-engine Economy i2mo, 

Hutton's Mechanical Engineering of Power Plants 8vo, 

Heat and Heat-engines 8vo, 

Kent's Steam boiler Economy .8vo, 

Kneass's Practice and Theory of the Injector 8vo, 

MacCord's Slide-valves 8vo, 

Meyer's Modern Locomotive Construction 4*o, 

Peabody's Manual of the Steam-engine Indicator i2mo. 

Tables of the Properties of Saturated Steam and Other Vapors 8vo, 

Thermodynamics of the Steam-engine and Other Heat-engines 8vo, 

Valve-gears for Steam-engines 8vo, 

Peabody and Miller's Steam-boilers 8vo, 

Pray's Twenty Years with the Indicator Large 8vo, 

Pupin's Thermodynamics of Reversible Cycles in Gases and Saturated Vapors. 

(Osterberg.) 121110, 

Reagan's Locomotives: Simple Compound, and Electric i2mo, 

Rontgen's Principles of Thermodynamics. (Du Bois.) 8vo, 

{Sinclair's Locomotive Engine Running and Management i2mo, 

Smart's Handbook of Engineering Laboratory Practice i2mo, 

Snow's Steam-boiler Practice 8vo, 

Spangler's Valve-gears 8vo, 

Rotes on Thermodynamics i2mo, 

Spangler, Greene, and Marshall's Elements of Steam-engineering 8vo, 

Thurston's Handy Tables 8vo. 

Manual of the Steam-engine 2 vols., 8vo, 

Part I. History, Structure, and Theory 8vo, 

Part II. Design, Construction, and Operation .8vo, 

Handbook of Engine and Boiler Trials, and the Use of the Indicator and 

the Prony Brake 8vo, 

Stationary Steam-engines 8vo, 

Steam-boiler Explosions in Theory and in Practice i2mo, 

Manual of Steam-boilers, their Designs, Construction, and Operation 8vo, 

Weisbach's Heat, Steam, and Steam-engines. (Du Bois.) 8vo, 

Whitham's Steam-engine Design ; 8vo, 

Wilson's Treatise on Steam-boilers. (Flather.) i6mo, 

Wood's Thermodynamics, Heat Motors, and Refrigerating Machines. . .8vo, 



MECHANICS AND MACHINERY. 
Barr's Kinematics of Machinery 8vo, 



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Bovey's Strength of Materials and Theory of Structures 8vo, 7 50 

Chase's The Art of Pattern-making i2mo, 2 50 

C.hurchts Mechanics of Engineering , . . . 8vo, 6 00 

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Church's Notes and Examples in Me : 8vo, 2 oo 

Compton's First Lessons in Metal-working i2mo, i 50 

Compton and De Groodt's The Speed Lathe i2mo, 1 50 

Cromwell's Treatise on Toothed Gearing i2mo, : 50 

Treatise on Belts and Pulleys i2mo, 1 5a 

Dana's Text-book of Elementary Mechanics for Colleges and Schools. . i2mo, 1 50 

Dingey's Machinery Pattern Making i2mo, 2 00 

Dredge's Record of the Transportation Exhibits Building of the World's 

Columbian Exposition of 1893 4to half morocco, 5 00 

Du Bois's Elementary Principles of Mechan. 

Vol. I. Kinematics 8vo, 

VoL II. Statics 8vo, 

VoL III. Kinetics 8vo, 

Mechanics of Engineering. VoL I Small 4to, 

VoL II Small dto, 

Durley's Kinematics of Machines 8vo, 

Fitzgerald's Boston Machinist i6mo, 

Flather's Dynamometers, and the Measurement of Power i2mo, 

Rope Driving i2mo, 

Goss's Locomotive Sparks 8vo, 

Hall's Car Lubrication i2mo, 

Holly's Art of Saw Filing i8mo, 75 

James's Kinematics of a Point and the Rational Mechanics of a Particle. Sm.8vo»2 00 

* Johnson's (W. W.) Theoretical Mechanics i2mo, 3 00 

Johnson's L. J.] Statics by Graphic and Algebraic Methods 8vo, 2 00 

Jones's Machine Design: 

Part L Kinematics of Machinery 8vo, 

Part II. Form, Strength, and Proportions of Parts 8vc, 

Kerr's Power and Power Transmission 8vo, 

Lanza's Applied Mechanics 8vo, 

Leonard's Machine Shop, Tools, and Methods 8vo, 

z's Modern Refrigerating Machinery. Pope, Haven, and Dean. 

MacCord's Kinematics; or, Practical Mechanism 8vo, 

Velocity Diagrams 8vo, 

Maurer's Technical Mechanics 8vo, 

Merriman's Mechanics of Materials 8vo, 

* Elements of Mechanics i2mo, 

* Michie's Elements of Analytical Mechanics 8vo, 

Reagan's Locomotives: Simple, Compound, and Electric i2mo, 

Reid's Course in Mechanical Drawing 8vo, 

Text-book of Mechanical Drawing and Elementary Machine Design. 8vo, 

Richards's Compressed Air i2mo t 

Robinson's Principles of Mechanism 8vo, 

Ryar., Norris, and Hoxie's Electrical Machinery. VoL 1 8vo, 

Schwamb and Merrill's Elements of Mechanism 8vo, 

Sinclair's Locomotive-engine Running and Management i2mo, 

Smith's 0. Press-working of Metals 8vo, 

Smith's A. W.) Materials of Machines i2mo, 

Spangler, Greene, and Marshall's Elements of Steam-engineering 8vo, 

Thurston's Treati=e on Friction and Lost Vork in Machinery and Mill 
Work ." 8vo, 

Animal as a Machine and Prime Motor, and the Lawc of Energe 

lamoa 

Warren's Elements of Machine Construction and Drawing 8vo, 

Weisbach's Kinematics and Power of Transmission. Herrmann — Klein. . 8vo , 

Machinery of Transmission and Governors. Herrmann — Klein. ;.8vo, 
Wood's Elements of Analytical Mechanics 8vo, 

Principles of Elementary Mechanics i2mo, 

Turbines 8vo . 

The World's Columbian Exposition of 1893 4to, 

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METALLURGY. 

Egleston's Metallurgy of Silver, Gold, and Mercury: 

Vol. t Silver 8vo, 

Vol. II. Gold and Mercury 8vo, 

** Iles's Lead-smelting. (Postage 9 cents additional.) i2mo, 

Keep's Cast Iron 8vo, 

Kunhardt's Practice of Ore Dressing in Europe 8vo, 

Le Chatelier's High-temperature Measurements. (Boudouard — Burgess. )i2mo, 

Metcalf's Steel. A Manual for Steel-users- i2mo, 

Smith's Materials of Machines i2mo, 

Thurston's Materials of Engineering. In Three Parts 8vo. 

Part II. Iron and Steel . 8vo, 

Part III. A Treatise on Brasses, Bronzes, and Other Alloys and their 

Constituents 8vo, 

Ulke*s Modern Electrolytic Copper Refining 8vo, 

MINERALOGY. 

Barringer's Description of Minerals of Commercial Value. Oblong, morocco, 

Boyd's Resources of Southwest Virginia 8vo, 

Map of Southwest Virignia Pocket-book form. 

Brush's Manual of Determinative Mineralogy. (Penfield.) 8vo, 

Chester's Catalogue of Minerals 8vo, paper, 

Cloth, 

Dictionary of the Names of Minerals 8vo, 

Dana's System of Mineralogy Large 8vo, half leather, 

First Appendix to Dana's New " System of Mineralogy." Large 8vo, 

Text-book of Mineralogy 8vo, 

Minerals and How to Study Them i2mo, 

Catalogue of American Localities of Minerals Large 8vo, 

Manual of Mineralogy and Petrography nmo, 

Douglas's Untechnical Addresses on Technical Subjects i2mo, 

Eakle's Mineral Tables 8vo, 

Egleston's Catalogue of Minerals and Synonyms 8vo, 

Hussak's The Determination of Rock-forming Minerals. (Smith.) .Small 8vo, 
Merrill's Non-metallic Minerals: Their Occurrence and Uses 8vo, 

* Penfield's Notes on Determinative Mineralogy and Record of Mineral Tests. 

8vo paper, o 50 
Rosenbusch's Microscopical Physiography of the Rock-making Minerals. 
(Iddings.) 8vo, 

* Tillman's Text-book of Important Minerals and Rocks .8vo, 

Williams's Manual of Lithology 8vo, 

MINING. 

Beard's Ventilation of Mines i2mo. 

Boyd's Resources of Southwest Virginia 8vo, 

Map of Southwest Virginia. . . Pocket book form, 

Douglas's Untechnical Addresses on Technical Subjects . . . nmo, 

* Drinker's Tunneling, Explosive Compounds, and Rock Drills, ^to.hf. mor., 

Eissler's Modern High Explosives 8vo. 

Fowler's Sewage Works Analyses. i2mo, 

Goodyear's Coal-mines of the Western Coast of the United States i2mo, 

Ihlseng's Manual of Mining , 8vol 

** Iles's Lead-smelting. (Postage 9c. additional.) „ i2mo, 

Kunhardt's Practice of Ore Dressing in Europe 8vo, 

O'Driscoll's Notes on the Treatment of Gold Ores 8vo, 

* Walke's Lectures on Explosives 8vo, 

Wilson's Cyanide Processes , i2mo, 

Chlorination Process ........ . i2mo, 

15 



7 50 


7 


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2 


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2 


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3 


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2 


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1 


00 


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50 


3 


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2 


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50 


5 


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2 


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1 


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2 


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4 


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50 



Wilson's Hydraulic and Placer Mining i2mo 2 

Treatise on Practical and Theoretical Mine Ventilation i2mo, 1 25 

SANITARY SCIENCE. 

Bashore's Sanitation of a Country House i2mo 

FolwelTs Sewerage. (Designing, Construction, and Maintenance.) 8vo, 

Water-supply Engineering 8vo, 

Fuertes's Water and Public Health. i2mo, 

Water-filtration Works i2mo, 

Gerhard's Guide to Sanitary House-inspection i6mo, 

Goodrich's Economic Disposal of Town's Refuse Demy 8vo, 

Hazen's Filtration of Public Water-supplies 8vo, 

Leach's The Inspection and Analysis of Food with Special Reference to State 

Control 8vo, 

Mason's Water-supply. (Considered principally from a Sanitary Standpoint) 8vo, 

Examination of Water. (Chemical and Bacteriological.) i2mo, 

Merriman's Elements of Sanitary Engineering 8vo, 

Ogden's Sewer Design i2mo, 

Prescott and Winslow's Elements of Water Bacteriology, with Special Refer- 
ence to Sanitary Water Analysis i2mo, 

* Price's Handbook on Sanitation v i2mo, 

Richards's Cost of Food. A Study in Dietaries i2mo, 

Cost of Living as Modified by Sanitaiy Science nmo, 

Richards and Woodman's Air, Water, and Food from a Sanitary Stand- 
point 8vo, 

* Richards and Williams's The Dietary Computer 8vo, 

Rideal's Sewage and Bacterial Purification of Sewage 8vo, 

Turneaure and Russell's Public Water-supplies 8vo, 

Von Behring's Suppression of Tuberculosis. (Bolduan.) i2mo, 

Whipple's Microscopy of Drinking-water 8vo, 

Woodhull's Notes on Military Hygiene i6mo, 

MISCELLANEOUS. 

De Fursac's Manual of Psychiatry. (Rosanoff and Collins.). . . .Large i2mo, 2 50 
Emmons's Geological Guide-book of the Rocky Mountain Excursion of the 

International Congress of Geologists Large 8vo, 1 50 

Ferrel's Popular Treatise on the Winds 8vo. 4 00 

Haines's American Railway Management i2mo, 2 50 

Mott's Composition, Digestibility, and Nutritive Value of Food. Mounted chart, 1 25 

Fallacy of the Present Theory of Sound i6mo, 1 00 

Ricketts's History of Rensselaer Polytechnic Institute, 1824-1894. .Small 8vo, 3 00 

Rostoski's Serum Diagnosis. (Bolduan.) i2mo. 1 00 

Rotherham's Emphasized New Testament Large 8vo, 2 00 

Steel's Treatise on the Diseases of the Dog 8vo, 3 50 

Totten's Important Question in Metrology 8vo. 2 50 

The World's Columbian Exposition of 1893 4to, 1 00 

Von Behring's Suppression of Tuberculosis. (Bolduan.) i2mo, 1 00 

Winslow's Elements of Applied Microscopy i2mo, 1 50 

Worcester and Atkinson. Small Hospitals, Establishment and Maintenance; 

Suggestions for Hospital Architecture : Plans for Small Hospital . i2mo, 1 25 

HEBREW AND CHALDEE TEXT-BOOKS. 

Green's Elementary Hebrew Grammar i2mo, 1 25 

Hebrew Chrestomathy 8vo, 2 00 

Gesenius's Hebrew and Chaldee Lexicon tr the Old Testament Scriptures. 

(Tregelles.) Small 4to, half morocco, 5 00 

Lettews's Hebrew" Bible 8vo, 2 25 

16 



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